Recorder Home Page
Recorder Iconography
Compiled by Nicholas S. Lander
Jaume Cabrera (15th century), Spain
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Altarpiece from the Cathedral of
Vic, tempera on wood panel, 75.5 × 123.5 cm
1400, Jaume Cabrera. Vic, Spain: Museu Diocesà,
MEV 1948. Ref. Post (? date: 2, 366); Gudiol (1986: fig.
33 – col.); Rowland-Jones (1997: 9, fig. 5 –
b&w). The Virgin and Child are surrounded by angel
musicians singing and playing harp, vielle, lute and a
cylindrical duct-flute (almost certainly a recorder,
though only six finger-holes are visible. There is a
great similarity to the altarpiece by Pere Serra (see
below), though Cabrera's angel plays with the right hand
uppermost. Some documentary evidence points to a 1400
dating for this painting (Rowland-Jones, pers. comm.)
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Virgin and Child with Angel musicians (early
15th-century), School of Jaume Cabrera. Madrid: Museo
Arqueológico Nacional. Ref. Gudiol (1986: 454);
Rowland-Jones (1997c: 15). Shows a duct-flute (flageolet
or recorder) with lute, harp and singers.
Giuseppe Antonio Caccioli
Italian frescoist and ceiling painter; born 1672, died
1740.
- Holy Trinity, chalk & ink on paper, 34 × 23 cm, Giuseppe Antonio Caccioli
(1672-1740). Brunswick: Herzog Anton Ulrich-Museum, Inv. Z 1180. Ref.
Munich RIdIM (1999: BSm 332).
Preparatory drawing for a ceiling painting of the Holy Trinity with angel musicians on the clouds. From left to right are four angels with tambourine, duct-flute (or shawm), and triangle with jingle rings.
Giacinto Calandrucci (1646-1707), Italian
Italian painter and draughtsman, executed various
decorative and mythological frescos as well as idyliic
pastoral scenes, and altarpieces; born Palermo (1646), died
Palermo (1707).
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A Satyr, charcoal or chalk on paper, Giacinto Calandrucci
(1646-1707). Düsseldorf: Kunstmuseum, FP 1934. Ref. Munich
RIdIM (1999: Dük 185). The satyr could have a
recorder, but the drawing is too impressionistic to
identify it properly. Notes by Anthony Rowland-Jones
(pers. comm., 1999).
Jan Steven [Johannes Stephanus] van Calcar
North Netherlandish artist active in Italy; strongly
influenced by Titian with whom his work is often confused;
his chief claim to fame is his woodcut illustration of
Vesalius' De humani corporis fabrica (1543), an
anatomical text book; born Kalkar (1499), died Naples
(1546/1550).
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Portrait of a Musician, attributed to Jan Steven
van Calcar (1499-1546/1550). Rome: Villa Spada, Picture
Gallery, Room 2, No. 68. Ref. Anthony Rowland-Jones
(pers. comm., 2002). A musician leans by a column, his
left hand on a box on a table which also has on it some
music and what may be a tenor recorder. The bell end is
hidden behind the musician's fur-edged cloak, but the
window/labium is quite clear and there are six
finger-holes, in line, visible before the foot end is
hidden. The mouthpiece, which looks rather stubby, is in
shadow.
Jacques Callot
French engraver, etcher and draughtsman of prodigious
output who combined the sophisticated techniques and
exaggerations of late Mannerism with witty and acute
observation; one of the chief exponents of the bizarre and
grotesque, much in vogue in the reign of Louis XIII; born
Nancy (1592/4); died 1635.
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Les Caprices (Florentine edition): Dancers with Flute and
Tambourine (1617), etching, 5.72 × 8.26 cm,
Jacques Callot (1592-1635). Augsburg: Städtische
Kunstsammlungen, Inv. G21 746; Los Angeles: County
Museum, M.61.2.10; Washington DC: Library of Congress,
Dayton C. Miller Collection. Ref. Munich RIdIM (1999: Ask
157); Lancaster (2007: 19, fig.) A Commedia
dell'Arte scene with two grotesque figures dancing
and playing a tambourine and a duct-flute (flageolet or
recorder).
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Shepherd Playing a Flute, etching, 6.35 × 8.73 cm,
Jacques Callot (1592-1635). Los Angeles: County
Museum, M.83.318.11.
An elderly shepherd leans forward on his staff playing a duct-flute (flageolet or
recorder). His dog defecates beside him and his goats graze in the distance.
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Temptation of St Anthony, second plate (1634),
engraving, 36 × 33.3 cm, Jacques Callot
(1592-1635). London: British Museum. Ref. Salamon (1972:
107 - b&w). St Anthony is dragged from his cave by a
multitude of devils and fire-breathing dragons. Above
him, a hellish band of devilish and beastly musicians
bray and play lute, violin and a flared-bell pipe
(possibly a duct-flute) in the unusual manner of the
piper in Hieronymous Bosch's Garden of Earthly
Delights. Perhaps he, like his forebear, is also a
music critic!
Dionys [Denijs, Denis, Dionisio Fiamingo] Calvaert
[Caluwaert]
Italian painter whose oeuvre is composed almost
exclusively of religious works ranging in size from vast
altarpieces to small devotional pictures on copper; born
Anversa (1540), died Bologna (1619).
-
St Cecilia, Dionys Calvaert (1540-1619). Parma:
National Gallery. St Cecilia looks heaven-ward, her hand
on the keys of a portative organ. Beside her (bottom
left) a cornett, a bow, and a viola stand side by side,
with a timbrel and a ? tenor flute underneath. The
recorder shows the beak, window/labium and finger-holes
in line. It is cylindrical with a wide-bore bell-flare
below the 7th hole. Above, angel musicians sing and play
lute, cornett, and trumpet. Notes by Anthony
Rowland-Jones (pers. comm.)
Pier Paolo Calzolari (1943-)
Italian sculptor, working in textiles, clay, metal; an
exponent of the Arte Povera movement which attempted to
remove art from its pedestal, to design art with more simple
and modest means and authentic materials, creating ephemeral
works that strove for a new active inclusion of the viewer
through actions and performances; born Bologna (1943).
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Un Flauto dolce per farmi suonare (1968),
sculpture, 46 × 88 cm, Pier Paolo Calzolari
(1943-). Munich: Sammlung Goetz. Exhibition: The
Italian Metamorphosis, 1943-1968, Guggenheim Museum
Ref. Moeck, Tibia 1/98 (1968). A small modern
style recorder lies on tablet on which the title of the
piece appears in relief. From the tablet a wire snakes
towards a loudspeaker. This should be compared with
Titian's comparatively paltry efforts. What a long way
we've come since the 16th century!
Andrea Camassei
Italian painter and engraver; his subects included religious and mythological themes; born Bevagna (1602), died Rome (1649).
- A Shepherd with Nymphs, Amoretti and Goats in a Landscape, oil on canvas, 109 × 135 cm, circle of Andrea Camassei (1602-1649).
Knightsbridge: Bonahams Sale 16860 - Old Master Paintings, 28 October 2009, Lot 50.
Watched by two admiring nymphs, two tumbling amoretti and a goat, a shepherd sits on a rock playing a flared-bell pipe. Although there is no sign of a beak or window/labium their is no reed, either, and the cross fingering and bent thumb are very suggestive of recorder playing.
Luca Cambiaso
Italian sculptor and painter of the school of Genoa; his
works include biblical and classical subjects; born Moneglia,
Genova (1527), died Madrid (1585).
-
Parnassus with a Soldier Entreating Apollo,
ceiling fresco, Luca Cambiaso (1527-1585). Genova:
Palazzo Pessagno, Salita S.Caterina. Ref. Suida-Manning
& Suida (1957: fig. 66 – b&w). A warrior
kneels before Apollo who is seated on a wooded hillside
holding his lyre. In the foreground the Muses watch and
converse amongst themselves, several holding instruments
including straight trumpet, tambourine (with pellet bells
and jingles), and a narrow cylindrical duct-flute (viewed
side-on, the beak clearly depicted). Underneath an open
music book, one Muse holds a larger recorder only the
beak of which can be seen. In the bottom right-hand
corner lies a syrinx of the duct-flute kind; at the
bottom left stands a viola da braccio.
-
The Nine Muses (1569), pen, ink and pencil
drawing, Luca Cambiaso (1527-1585). Stockholm:
Nationalmuseum, NM H 1569/1863. Ref. RIdIM Stockholm
(2000); Anthony Rowland-Jones (pers. comm., 2000). The
Muses entertain each other with music played on horn,
straight trumpet, viol, harp, bagpipe and duct-flute. One
of the duct-flutes is sketchily drawn and is of at least
tenor size; it has no beak, but there are two incised
rings close together near the mouthpiece and a mark
indicating a window/labium; otherwise the instrument has
no distinguishing features. A second cylindrical
duct-flute on the ground, however, has a beaked
mouthpiece, window/labium, and a finger-hole near the end
of the instument beneath which is an incised ring and
short bell flare. The artist has added in pencil where
the finger-holes woul be if they were visible (as if the
instrument were transparent). The first of these
pencilled finger-holes is above the windway opening, and
the second is half way down the labium! The third is
where the first finger-hole should correctly be. After a
gap, the fourth, fifth and sixth pencilled rings are
correctly placed for the lower hand, with the visible
hole (that is in brown ink) shown just below the last of
the pencilled holes. All this suggests that the artist
was rather unclear about what the details of the
instrument actually looked like. Above the date 1569 can
just be made out another date which is probably 1529.
Notes by Anthony Rowland-Jones (loc. cit.)
Adam Camerarius
Dutch portrait painter known for his unusual colour combinations that have a surprisingly modern appearance; born Groningen (? date), died (1685).
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Family Portrait, oil on canvas, 138 × 172 cm, Adam Camerarius (op. 1644-1685).
Darmstadt: Hessisches Landesmuseum, Inv. GK 874. Ref. Munich RIdIM
(1999: DAhl 43). Family portrait with parents, grandparents and seven children. On the far left, a boy holds a recorder of soprano/alto size with a marked bell fare. On the far right, another boy dances with a tambourine.
Domenico Campagnola
Italian painter and draftsman of German extraction who
often passed his engravings, woodcuts and drawings off as
Titians; his own prints are executed in an unusually flowing
and sketchy technique and include enigmatic, pastoral themes;
born ?Padua (before 1500), died Padua (1564); adopted son of
Giulio Domenico (ca 1482-1516).
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Shepherd playing his Pipe with Landscape (before
1550), pen and brown ink drawing on paper, 40.4 ×
68.5 cm, Domenico Campagnola (1500 – after 1581).
Paris: Louvre, Print Collection, Inv. 4754. Ref. Joconde
Website (1999). A pastoral scene against a landscape
which includes a valley, a village, fields, peasants,
forest and mountains. A shepherd, seated amongst his
sheep, plays a duct-flute (flageolet or recorder). Not
seen. There is an engraving of this work by Caylus.
-
Triumph of David, Domenico Campagnola (fl.
1500-1581). Berlin: Staatliche Museen,
Kupferstichkabinett. Ref. Zeitschrift für
Kunstgeschichte 19 (1966: 335); Rasmussen (1999c).
"The Welcoming Women play generic woodwind (recorder?)
and two tambourines" (Rasmussen, loc. cit.)
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Ascension of Christ, fresco, Domenico Campagnola
(fl. 1500-1581). Padua: Chiesa del Convento de Praglia.
Ref. Grossato (1966: 186-187, fig. 121); Rasmussen
(1999c). "Putti play lyre, panpipes (?), recorder (held)
and tambourine" (Rasmussen, loc. cit.)
Giulio Campagnola
Italian painter and engraver who anticipated by over two
centuries the development of stipple engraving; praised by
his contemporaries for his artistic gifts, his knowledge of
Greek, Latin and Hebrew, and his skills as a musician, singer
and lute-player; born Padua (ca 1482), died Venice (1516).
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Shepherds in a Landscape, Giulio Campagnola (ca
1482-1516). Whereabouts unknown. Ref. Martineau &
Hope (1982: 310-312, 250, pl. 7).
Completed by Domenico Campagnola after Giulio's death. Shows four shepherds
seated with some sheep. One plays a hurdy-gurdy,
another plays an ambiguous cylindrical pipe (possibly a
recorder), and a third holds a long-necked bowed stringed instrument.
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Shepherds in a Landscape (ca 1517), engraving,
Giulio Campagnola (ca 1482-1516) & Domenico
Campagnola (ca 1500-1564). Ref. Turner (1966: fig. 55);
Burlington Magazine 109: pl. XLV (1967);
Burlington Magazine 134: xxi (1992); Levenson et
al. (1973: 41); Rasmussen (2003). Shows four shepherds seated with some sheep. One plays a hurdy-gurdy,
another plays an ambiguous cylindrical pipe (possibly a
recorder), and a third holds a long-necked bowed stringed instrument.
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Shepherds in a Landscape (ca 1517), engraving,
Giulio Campagnola (ca 1482-1516) & Domenico
Campagnola (ca 1500-1564). Ref. Hind Early Italian
Engraving 61(2): pl. 774 (?date); Rasmussen (2003). A
variant of the above, reversed and with a different
background and the addition of two cows. Not seen.
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The Old Shepherd, plate 7.9 × 13.5 cm,
Giulio Campagnola (ca 1482-1516). New York: Metropolitan
Museum of Art, 37.3.11. Ref. Hind Early Italian
Engraving 5(8): 11 (?date); Archiv Moeck. In front of
a rambling wooden house, watched by a goat and a sheep,
an old shepherd reclines with an ambiguous pipe in his
mouth.
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Young Shepherd, engraving, 13.2 × 7.8 cm,
Giulio Campagnola (ca 1482-1516). Cincinnati: Art Museum,
1943.88, Hind 5, no 10 11. Ref. Archiv Moeck. A young
shepherd reclines on a bank before a large rambling
house; in his hand is a duct-flute (possibly a double
recorder).
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Landscape with a Shepherd Couple (2nd half of the
16th century), drawing in pen and brown ink, after Giulio
Campagnola (ca 1482-1516). Paris: Louvre, Inv. 4780. Ref.
Joconde Website (1999). Against the background of a
castle by a river with a water mill, a shepherd and
sheperdess play guitar and duct-flute (flageolet or
recorder). Not seen. There is another copy by Watteau
(1684-1721) in the Musée des Beaux Arts et
d'Archéologie, Besançon.
Pedro Campana or Petrus Campania or
Companicusis or Peter Campener – see Peter de
Kempener
Jacob van Campen [or Kampen]
Dutch architect, one of the leaders of a group of
architects who created a restrained architectural style that
was suited to the social and political climate of the
Netherlands; born Haarlem (1595), died Huis Randenbroek, near
Amersfoort (1657).
-
Hermes
lulling Argus to Sleep (ca 1635), oil on canvas,
204 × 194 cm, Jacob van Campen (1595-1657). The
Hague: Mauritshuis. Ref. Haak (1984/1996: 258, pl. 546);
Griffioen (1988: 438-439), Rowland-Jones (1998c: 16;
1999; pers. comm. 2001); Blanker et al. (1999: pl. 4
– col.); Rijksbureau voor Kunsthistorische
Documentatie 10645 (2001); Website: Museum Boijmans Van
Beuningen (2001). Hermes (as a young boy) lulls Argus to
sleep by playing on a flared-bell, soprano recorder (the
lowest little finger down, but no finger-holes or
window/labium actually visible), surrounded by sleepy
dogs and beasts, including a white heifer (Io).
Comtemporary photographer Vik Muniz has made an amusing
parody of this work in his Junk Series – see
here.
Peter Campener – see Peter de
Kempener
Campi
Italian dynasty of painters from Cremona, active there
and in Milan during the 16th century.
-
Merry Company (ca 1600), oil on canvas, 130
× 49 cm, attributed to the school of Campi.
Location unknown: sold at the Hôtel des Ventes,
Cannes, 10 April (1990). Ref. Gazette de l'Hôtel
Drouot No. 14, 6 April (1990). Around a table on which
there is food on plates and a guitar, a group of men
drink whilst one plays a slender, flared-bell pipe which
may represent a recorder, although the bell is very large
for such a slender instrument.
- Decorated ceiling, Campi. Location unknown.
Ref. Paolo Biordi (pers. comm., 2000). A tortured-looking
boy lies crouched beside a pile of instruments which
include a viol (only the pegbox, fretted neck and part of
the body visible), a hunting horn, a harp (the arm of which
is visible) and a cylindrical pipe (possibly a recorder,
though only the lower section and three finger-holes are
visible).
Bernadino Campi (1522-1591)
Italian artist of the Lombard school; painted portraits
and church decorations; born Cremona (1522), died Reggio
(1591); although not directly related to Galeazzo Campi
(1477-1536) or his sons, he was an assistant to Giulio Campi
(p. 1507-1573)
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Ceiling decoration (1583-1584), fresco,
Benardino Campi (1522-1591). Sabbioneta: Palazzo del
Giardino, Camera dei Miti, ceiling. Ref. Charles
Rowland-Jones (2006, pers comm. ex Anthony
Rowland-Jones). A series of interlocking panels in which
a strutting cupid (holding Mercury's caduceus and winged
helmet) is surrounded by birds and figures from classical
myths including Daedalus and Icarus, Arachne and Minerva,
Saturn and Filira, and Apollo and Marsyas. The latter
holds a shepherd's pipe, so often represented by a
recorder. The instrument is cylindrical but otherwise
featureless. The Palazzo del Giardino was built as a
pleasure palace between 1578 and 1588 by the Gonzagas,
starting with the main block and then the Galleria. The
Camera dei Miti was designed by Fornarino (Givovan
Francesco Bicesi) with gilded stucco work by Martiri
Pesente. Campi and his team decorated the seven rooms in
the Garden Palace between 1583 and 1584.
Giulio Campi
Italian architect and painter of the Lombard school who
combined elements of the styles of Raphael and Coreggio and
founded a school of his own at Cremona; his numerous
paintings include portraits, classical and religious
subjects; born Cremona (p. 1507), died Cremona (1573); son of
the artist Galeazzo Campi (ca 1475-1536); son of Galeazzo
Campi (1477-1536), brother of Antonio Campi (1523-1587) and
Vincenzo Campi (1532-1591), all artists.
-
Apollo and the Muses, oil on panel, 40 × 97
cm, Giulio Campi (p. 1507 – 1573). Parma: National
Art Gallery, Inv. 191. Ref. Villa I Tatti, N 2740 A6
(1997); Riccomini et al. (1997, 2: 177, pl. –
col.); Paolo Biordi (pers. comm., 2000). Apollo, seated
with his lyre, holds court amongst the Muses most of whom
hold or play musical instruments. One plays an ornate and
exotically shaped viol, another a violin; one holds a
syrinx with seven tubes, another a straight trumpet. Two
(one on each side of the painting) hold recorders: that
on the left holds hers by her side in her left hand, her
right hand holding a music book steady in her lap; that
on the right holds her instrument two-handed as if to
play it. Both instruments are of cylindrical
construction, the beak and window clear; on the left-hand
instrument four of the finger-holes for the right hand
are visible, the lowest slightly offset; on the
right-hand instrument the fingers are deployed somewhat
haphazardly, though again the lowermost hole seems
slightly offset to the others.
Peter Candid [Pietro di Pietro Candido, Pieter de Witte]
(ca 1548-1628)
Netherlandish painter, tapestry designer and
draughtsman, active in Italy and Germany; one of several
Italian-trained Mannerist artists employed by the courts of
Europe; the leading figure in Munich from 1600 to 1628; born
Bruges (ca 1548), died Munich (1628).
-
Virgin and Child with St Anne (ca 1590), oil
on canvas, 226 × 159.1 cm, Peter Candid (ca
1548-1628). Boston: Museum of Fine Arts, 1980.72. Above
the central scene angel musicians sing and play harp and
vielle; in the top right hand corner a putto plays a
duct-flute. The latter's hand position is suggestive of
recorder playing, and a window/labium is just visible.
Antonio Canova
Italian sculptor, painter, draughtsman and architect;
the most influential sculptor of the Neoclassical movement
who often combined a classicising format with a naturalistic
presentation of features; he worked for a galaxy of European
notables; born Possagno (1757), died Venice (1822).
-
The Muse Euterpe, Antonio Canova (1757-1822).
Asolo: Civic Museum. Ref. Anonymous (2000). Euterpe holds
a shawm with a pirouette in her right hand and two
curious keys. There is no bell flare. In her left hand
she holds an alto pipe, probably a duct-flute (possibly a
recorder) , which seems to have a beaked mouthpiece and a
very slight bell and bore flare. Notes by Anthony
Rowland-Jones (pers. comm., 2000).
-
Terpischore and Euterpe, Antonio Canova
(1757-1822). Possagno: Civic Museum. Ref.Anonymous
(2000). Terpsichore dances with two cupids one playing a
harp bigger than himself on his shoulder. Euterpe holds a
shawm with a pirouette in her right hand and two curious
keys. There is no bell flare. In her left hand she holds
an alto pipe, probably a duct-flute (possibly a recorder)
, which seems to have a beaked mouthpiece and a very
slight bell and bore flare. Notes by Anthony
Rowland-Jones (pers. comm., 2000).
Simone Cantarini, 'Il Pesarese'
Italian painter and engraver who developed a highly
original style, which united aspects of Bolognese classicism
with a bold naturalism; born Pesaro (1612), died Verona
(1648).
-
Mercury and Argus, Simone Cantarini, 'Il Pesarese'
(1612-1648). Location unknown. Ref. Bartsch (1854-1870,
19: 142.31). Mercury reclines on a bank playing an
alto-sized flared-bell duct-flute (window/labium and
several finger holes visible) with his left hand, holding
his caduceus in his right. Argus reclines against a tree,
looking very sleepy. In the background are Argus' cattle.
-
Mercury and Argus, Simone Cantarini, 'Il Pesarese'
(1612-1648). Stockholm: Nationalmuseum, NM52. Ref.
Anthony Rowland-Jones (pers. comm., 2000). Mercury plays
a recorder-like instrument of tenor size to the listening
Argus, who is not yet drowsy. The mouthpiece is narrow
and the whole instrument outwardly gently conical with a
greater expansion at the bell end. All fingers are down
except the left hand lower little finger, but this is in
playing position with the hand much too near the bell end
for a shawm. Neither finger-holes nor window/labium are
visible. The context suggests a recorder. Notes by
Rowland-Jones (loc. cit.)
-
Mercury and Argus, engraving by Gio. Jacomo Rossi,
after Simone Cantarini, 'Il Pesarese' (1612-1648). Ref.
Warburg Institute, London (2000). Mercury plays to Argus
on a longish thin pipe (possibly a recorder) with a
flared bell, two finger-holes of which can be seen but no
window/labium. Notes by Anthony Rowland-Jones (pers.
comm., 2000).
-
Mercury and Argus, engraving,
25.2 × 30 cm, Simone Cantarini, 'Il Pesarese'
(1612-1648). Michegan: The University of Michigan Museum
of Art, Accession No. 1961/2.18; New York: Metropolitan
Museum of Art, 26.70.4[142]. Ref. Websites: University of
Michigan Museum of Art; Metropolitan Museum of Art
(2005). Argus and his dog recline drowsily amongst the
trees as Mercury pipes on a flared-bell recorder, sitting
on a rock with his caduceus beside him and his sword
almost hidden beneath his robe. Io (as a heifer) glances
back at them from her pasture in the background.
-
The Flaying of Marsyas, oil on
canvas, Simone Cantarini, 'Il Pesarese' (1612-1648). Ref.
Gabrius Data Bank (2000 - col.) Marsyas bound with his
arms outstretched, screams as Apollo flays the skin from
his shoulder. Vaguely depicted at the bottom left is
Apollo's lyre; and at the bottom right lies what must be
Marsyas' pipe, the window/labium of which may just be
visible.
Gustav Jakob Canton (1828-1885), German
-
Boy with a Flute, painting, Gustav Jakob Canton
(1828-1885). Mainz: Mittelrheinisches Landesmuseum, Inv.
0/595. Ref. Munich RIdIM (1999: 162). Catalogued under
'blockflöte' rather than 'flöte'. Not seen.
Estella Louisa Michaela Canziani (1887-1964)
Italian-born artist working in England where she was an
active member of the Folk-Lore Society; her works include
portraits, landscapes, and illustrations drawn from fantasy
and folklore; born Milan (1887), died London (1964); daughter
of the fairy painter Louisa Starr.
-
The Piper of Dreams (1914),
watercolour on paper, 46.9 × 34.2 cm, Estella Louisa Michaela Canziani
(1887-1964).
Private Collection. Ref. Recorder & Music Magazine
25(2): cover - col. (2005); Bridgeman Art Library, Image MAA 199091 (2009 - col.)
Originally titled 'Where the Little Things of the Wood Live Unseen'.
Surrounded by fairies, a wistful country boy in a feathered hat, sits beneath a
tree playing a slender, cylindrical pipe, probably a
duct-flute (flageolet or recorder). This picture was
amongst the most popular paintings of the
Victorian/Edwardian period, and was a favorite among
English soldiers in the trenches of World War I. There is a study for this painting in pastel at the
Victoria & Albert Museum, London, 47 x 36 cm, bequeathed by Hilda Amelia Lake-Barnett through The Art Fund.
Francesco Capella, called 'il Daggiù'
Italian painter; born Venice (1711), died Bergamo
(1784).
-
Duet (18th century), Francesco Capella
(1711-1784). Bergamo: Casa Mazzocchi. Ref. Angelo Zaniol
(pers. comm., 2003). A young woman plays a lute and a man
plays a baroque alto recorder, very clearly depicted.
Michelangelo Merisi da Caravaggio
Italian painter of great originality and influence,
regarded by many as an 'evil genius'; early works are usually
small pictures of non-dramatic subjects, still-life, and a
distinctly homo-erotic character; later works mainly
large-scale religious pictures; born Caravaggio (1571); died
Port Ercole (1609/1610).
-
Musical Trio (16th century), guache, 92.5 ×
127.5 cm; attributed to Michelangelo Merisi da Caravaggio
(1571-1609/1610). London: Duke of Devonshire's
Collection. Ref. La Rassagua Musicale 5 (Sept,
1930); Angelo Zaniol ex Anthony Rowland-Jones (pers.
comm., 2000). Three carousing musicians sing and play
lute and a soprano flared-bell recorder.
-
Concert, engraving, 43 × 53.3 cm, engaving
by Thomas Chambars (ca 1724-1789, Irish), after
Michelangelo Merisi da Caravaggio (1571-1609/1610). The
Hague: Gemeentemuseum. Ref. Paris RIdIM (2000). From the
original picture attributed to Michelangelo da Caravaggio
in the collection of the Duke of Devonshire (see
Musical Trio), though the lute in the original has
become a guitar and the recorder an ambiguous pipe. Three
carousing musicians sing and play guitar and a small
flared-bell pipe (possibly a duct-flute).
-
The Lute Player, oil on canvas,
101.5 × 129.5 cm, Michelangelo Merisi da Caravaggio
(1571-1609/1610). New York: Private Collection. Ref.
Connoisseur 145 (1960); Scherliess (1972: pl. 50,
as by Carlo Saraceni); Christiansen (1990: front cover, 8
& 34-35 - col.); Camiz (1994: 62, fig. 4);
Ferino-Pagden (2001: 104); Exhibition Catalogue:
Colori della musica …, Rome (2000-2001:
19); Mahon (1990); Postcard: Royal Academy of Arts,
London (2001); Exhibited: The Genius of Rome,
Royal Academy (2001); Anthony Rowland-Jones (2001: 15);
Visual Collection, Fine Arts Library, Harvard University,
372.Sa71.90[a], as by Saraceni (2002); Rasmussen (2002,
Lute). A young woman plays a lute, her music books on a
table in front of her with a flared-bell recorder (with
paired holes for the lowermost finger), violin, and
miniature spinet. There is a copy of this by Carlo
Magnone in the Palazzo Barberini, Rome. The music is
clearly legible as Madrigals xxxii and xxiii by Arcadelt.
A replica of this work appeared on the London art market
in 1960 (Connoisseur, loc. cit.)
-
The Concert (ca 1595), oil on canvas, 92.1 ×
118.4 cm, Michelangelo Merisi da Caravaggio
(1571-1609/1610). New York: Metropolitan Museum of Art,
52.81 Painted for the artist's first great patron,
Cardinal Francesco del Monte. Three musicians play lute
and a pipe (probably a cornetto) whilst a third reads a
score, his violin beside him. Behind them, Cupid picks at
some grapes. Although it was described by contemporaries
as simply "una musica" (music piece), it is an allegory
of music. Cupid, "who is always in the company of music"
(Vasari), is shown at left with a bunch of grapes,
"because music was invented to keep spirits happy, as
does wine" (Ripa). The costumes have a vaguely classical
look. The surface of the picture is worn and there are
extensive losses in the back of the right-hand figure
(the piper, unfortunately) and in the music and the
violin. A copy sold in London in 2006 (see below) was
used by the Metropolitan Museum to reconstruct the
damaged areas of their own painting, notably the upturned
sheet of music that had been largely destroyed. Another
copy another copy was sold in Berlin in 1901.
-
The Musical Party (ca 1595), oil on canvas,
94.7 by 125 cm, follower of Michelangelo Merisi da
Caravaggio (1571-1609/1610). Location unknown: auctioned
by Sotheby's (London), Sale LO6032, Old Master Paintings
Day, 6 July 2006, Lot 219 (sold.) Ref. Website: Sotheby's
(2006: Lot 219); Gabrius Databank (2007 - col.) This
composition repeats that of the painting commissioned
from Caravaggio by Cardinal del Monte in 1594, today in
the Metropolitan Museum of Art, New York. The
compositions are almost identical, with only minor
differences between the two versions (such as the
decoration of the crimson drapery of the principal
musician). Three musicians play lute and a cornetto
whilst a third reads a score, his violin beside him.
Behind them, Cupid picks at some grapes. Although it was
described by contemporaries as simply "una musica" (music
piece), it is an allegory of music. Cupid, "who is always
in the company of music" (Vasari), is shown at left with
a bunch of grapes, "because music was invented to keep
spirits happy, as does wine" (Ripa). The costumes have a
vaguely classical look.
-
Portrait of a Recorder Playing Boy in a Plumed
Hat, oil on canvas, attributed to Michelangelo
Merisi da Caravaggio (1571-1609/1610). Location unknown.
Ref. Gabrius Databank (2002). A portrait of a boy in a
plumed hat, a cloak wrapped loosely around his shoulders,
playing an alto-sized flared-bell recorder with a
metal-sheathed beak. Auctioned 2 June 1993, sold
(Gabrius, loc. cit.)
Taborda Vlame Frey Carlos (fl.1517-1540), Dutch.
- Assumption of the Virgin: Musical Angels, Taborda Vlame
Frey Carlos (fl.1517-1540). Lisbon: National Museum of
Ancient Art. Bridgeman Art Library (2005, Image XIR
170593). Angels playing trombone, trumpet, pipe (possibly
a recorder) and shawm.
Giovanni Cariani = Giovanni Busi
Vittore Carpaccio
Italian painter, a specialist in teleri, the
large narrative paintings on canvas which adorned the
scuole – charitable confraternities
characteristic of Venice; born Venice (1460/5), died Venice
(1525/6).
-
A Monk and three Musicians in a Room, pen and
brown ink wash on blue paper, 18.9 × 27.7 cm,
Vittore Carpaccio (1460/5-1525/6). London: British
Museum. Ref. Royalton-Kisch et al. (1996: 44-45, pl. 16);
Angelo Zaniol ex Anthony Rowland-Jones (pers. comm.,
2000). Two of the musicians play lutes; another plays a
rebec. On the wall behind hang a viola da braccio and a
timbrel; On a bench before the players lie a cylindrical
duct-flute (probably a recorder) and a curved instrument
(possibly a cornett), both very sketchily drawn.
Adriaen Carpentier (op. 1739-1778), French
-
The Player, oil on canvas, 71 × 57 cm,
Adriaen Carpentier (op. 1739-1778). London: Sotheby's,
Lot 34, auctioned 6 April 1993. Ref. Sotheby's Catalogue
(April 1993: 54, pl. 34). "Half-length [portrait of a
man], wearing a grey coat decorated with red and blue
ribbons, a recorder in his right hand" (Sotheby's, loc.
cit.) The head of the instrument is out of frame and the
single standing key seems to indicate that a flute was
intended rather than a recorder.
Giulio Carpione [Carpioni]
Italian painter and etcher, known for religious
mythological, allegorical paintings and decorative friezes,
but his most original works are his small bacchanals,
indebted to Titian and to Testa, whom he interpreted with wit
and a melancholy charm; active predominantly in Verona, also
in Venice and Padua; born Venice (1611), died Verona (1674).
-
Bacchanal, Giulio Carpione (1611-1674). Milan:
Sforza Castle. Bacchus, at the centre, plays a pipe
(possibly a duct-flute) listened to by two women, two
men, a boy, and a man in drunken stupor. A centaur
clashes cymbals at the left. Notes by Anthony
Rowland-Jones (pers. comm.)
-
Pan's Music Lesson (1668-1671),
oil on canvas, 68 × 210 cm, Giulio Carpione
(1611-1674). Paris: Louvre Inv. RF 1983-52. Ref.
Lallement & Devaux (1996: 237-238, pl. 3 –
b&w); Joconde Website (1999). Pan mellows out playing
a pipe (his swollen cheeks suggesting a shawm rather than
a duct-flute) surrounded by men and women in various
stages of undress, some asleep. Two putti (one holding a
slender flared-bell pipe) chase a naked women banging a
timbrel; another dozes, holding what looks very much like
a duct-flute (flageolet or recorder) in his crossed arms.
An embarrassed statue (?Aphrodite) looks aside. If only
all music lessons were like this! There is clearly a
relationship between this work and the the same artist's
Nymphs and Satyrs around a Statue of Priapus (see
below)
-
Nymphs and Satyrs around a Statue of Priapus 92.5
× 71 cm, Giulio Carpione (1611-1674). Location
unknown: sold Sotheby's, London, 5 March 1969. Ref. Sale
Catalogue (1969: No. 22); Paris RIdIM (2000). At the foot
of a statue of Priapus (looking somewhat haughty), a
satyr (?Pan) mellows out playing a flared-bell
duct-flute, probably a recorder despite his somewhat
swollen cheeks, since the window/labium seems to be
visible, and all fingers of the lowermost (left) hand
seem to be deployed covering their holes. On a plinth
behind him a baby satyr dances. In front a putto bangs
two cymbals together, a second lies fast asleep in front
of an enormous tambourine, and a third dozes in the
bottom left-hand corner. Two naked women look on. In the
background a second satyr plays a tambourine whilst a
third semi-clad woman dances; beside them a fourth putto
claps his hands and dances. There is clearly a
relationship between this work and the the same artist's
Pan's Music Lesson (Louvre, see above).
-
Cupid triumphant over War, canvas, 72 × 57
cm, Giulio Carpione (1611-1674). Location unknown: sold
St Germain-en-Laye, 9 December 1990. Ref. Gazette H.D.
(30 November 1990: 343); Paris RIdIM (2000). Cupid leans
on a drum playing a slender flared-bell recorder, the
beak, window/labium of which are clearly depicted. He
plays right hand uppermost, with all fingers of the
lowermost (left) hand covering their finger-holes. Behind
the drum the bell of what appears to be a shawm projects,
the rest of the instrument hidden behind Cupid's back.
-
Mercury and Argus, oil on canvas, circular,
Giulio Carpione (1611-1674). Ref. Gabrius Data Bank (2000
- b&w). Playing a long cylindrical pipe (probably a
duct-flute), Mercury lulls a drowzy Argus to sleep.
-
Saints Cassia, Innocenza, Gaudenzia and Neofita
(ca 1665-1670) ca, oil on canvas, Giulio Carpione
(1611-1674). Vicenza: Basilica dei SS. Felice e Fortunato
Ref. (Brugnolo & Cevese (1993: 68 - col., detail).
Two putti play rebec and a slender pipe. No details of
the latter can be seen, but the little player's hands are
well disposed for recorder-playing. In particular, the
little finger of the lowermost (right) hand is
characteristically stretched as if to cover its hole.
-
Bacchanal, Giulio Carpione (1611-1674). Reims:
Musée des Beaux Arts. Ref. Anthony Rowland-Jones
(pers. comm., 2003). A satyr at the centre plays an
alto-sized duct-flute, probably a recorder. Most of the
beak is in his mouth, and it has a long window/labium.
The instrument is near-cylindrical with a slight bell
flare. The player's right hand is lowermost with the
little finger lifted. Fingers 3 and 4 of the left hand
are also lifted, hiding any finger-holes beneath. No
lower finger-holes are visible. other instruments
depicted include tambourine, a large frame drum, and a
very thin double-pipe played by a naked boy as he dances.
-
Pan
and a Nymph (1666-1671), oil on canvas, 68.5
× 53 cm, Giulio Carpione (1611-1674). Venice: Ca'
Rezzonico - Museo del Settecento Veneziano, Sala 4,
Collezione Martini Inv. 53. Pan plays his pipe to a
seated nymph, watched by a putto who reaches for
something in an enormous jar. At the nymph's feet is a
large tambourine (with jingle rings). The pipe is
cylindrical and slender, but Pan's fingers and thumb seem
well disposed for recorder playing, despite his puffed
out cheeks.
- Bachanal, oil on canvas, tondo, 80.5 × 80 cm, Giulio Carpione (1611-1674).
Freiburg: Städtisches Augustinermuseum, Inv. 11476.
Ref. RIdM Munich (2009, FRa 11).
In a landscape putti gambol while a youthful Bacchus wine glass in hand, sits astride a barrel mounted with architectural set pieces (urn, etc.), more carousing putti and juvenile satyrs, one of whom is blowing on a small duct-flute and holds a second pipe in his other hand. Not seen.
Agostino Carracci
Italian (Bolognese) painter, engraver and draughtsman;
the moving spirit of the Bolognese school; born Bologna
(1557), died Parma (1602); brother of Annibale (1560-1609)
and cousin to Lodovico (1555-1619).
-
Annunciation, oil on canvas, 48
× 35 cm, Agostino Carracci (1557-1602). Paris:
Louvre, Inv. 182. Ref. Joconde Website (1999). In the
clouds above Gabriel (who has just surfed in on his own
cloud) and Mary (who has dropped her washing in alarm),
putti and angel musicians sing and play lute and
duct-flute, almost certainly a recorder (given the right
hand playing position with the lowermost finger hovering
above its hole).
-
History of Cremona: The Goddess Cremona (1589),
engraving by Ant. CAM.IN after Agostino Carracci
(1557-1602). Ref. Bartsch (1854-1870, 18: 137.193 N.Y.)
At the left of the goddess, by her feet, are musical
instruments including a duct-flute of alto/tenor size
which shows four finger-holes before the rest of the
instrument is hidden behind a lute. Notes by Anthony
Rowland-Jones (pers. comm., 2000).
Annibale Carracci
Italian (Bolognese) painter, draughtsman and printmaker,
considered one of the greatest Italian painters of his age;
his eclectic style is said to have rescued the great
traditions of Italian art, from Giotto to Raphael, from the
twin evils of Mannerism on the one hand and unbridled realism
on the other; he painted in a number of genres including
mythological, biblical and landscape scenes and caricature
(of which he is said to have been the first exponent); born
Bologna 1560, died Rome 1609; brother of the painter and
printmaker Agostino (1557-1602), and cousin to the painter
Lodovico (1555-1619).
- Title unknown, Annibale Carracci
(1560-1609). Ref. Burlington Magazine (1998).
Includes a recorder-playing angel whose smallish instrument
has double holes for fingers seven and three, a solution
found in some instruments to the g# problem. Note by
Anthony Rowland-Jones, pers. comm. (1999).
-
Baptism of Christ (1585), Annibale Carracci
(1560-1609). Bologna: Church of St Gregory. Ref. Cooney
& Malafarina (1976). In the top half of the picture,
beneath the figure of God the Father stretching across,
are six angel musicians playing viola, ? violin, flute,
lute, viol and recorder. The latter is of canto size,
with a bell flare. The beak is clear, but the
window/labium is obscured. The finger-holes are not
visible, but only the third finger of the upper (left)
hand is raised; all the others, including the little
finger of the right hand are on the instrument. The open
bore-end shows that most of the flare is due to the
thickening of the wood. The playing position is perfect.
Notes by Anthony Rowland-Jones, pers. comm. (1999).
-
Assumption of the Virgin (ca 1587), Annibale
Carracci (1560-1609). Dresden: City Museum. Ref. Cooney
& Malafarina (1976); Anthony Rowland-Jones (pers.
comm., 2001). An angel at the top left plays an
alto-sized duct-flute, possibly a recorder. The
mouthpiece is beaked, the window/labium is quite clear
and although no finger-holes are visible and the hands
are rather high up they are in excellent recorder-playing
position, especially the little finger of the left
(lowermost) hand. The instrument is cylindrical, except
for a rather sudden but slight bell fare at the end. The
detailing is clear enough to see the bore opening. Notes
by Anthony Rowland-Jones (loc. cit.)
-
Venus Asleep with Cupids (1602-1603), oil on
canvas, 190 × 328 cm, Annibale Carracci
(?1560-1609). Chantilly: Musée Condé, Inv
.63. Ref. Tiziano et Venezia (1980; fig. 208);
Cooney & Malafarina (1976); Paris RIdIM (1999);
Joconde Website (1999). One of a series of pieces
commissioned by Odoardo Farnese for the Farnese Palace,
Rome. A mythological scene in which the sleeping Venus is
surrounded by putti who dance and play tambourine and
duct-flute (probably a recorder to judge by the hand,
with the window/labium and bell-end clearly shown)
against the background of a landscape. The instrument is
held with the right hand down and all holes are covered.
Notes by Anthony Rowland-Jones (pers. comm.)
-
The Angel Gabriel in Glory with Angel Musicians and
Cherubim, oil on canvas, 249 × 212 cm,
Annibale Carracci (?1560-1609). Chantilly: Condé
Museum, Inv. 69. Ref. Joconde Website (1999). A biblical
scene in which the Angel Gabriel is surrounded by angel
musicians singing and playing lute, timbrel and recorder
-- all fingers of the player's lowermost (right) hand are
covering their holes.
-
Coronation of the Virgin (?1609), pen & brown
ink and brown wash with white highlights, 46 × 47
cm, Annibale Carracci (?1560-1609). Dijon: Musée
des Beaux-Arts, Inv. CA 785. Ref. Posner (1971: pl. 94b),
Paolo Biordi (pers. comm., 2000); Anthony Rowland-Jones
(pers. comm., 2004). Painted in Rome. The Virgin ascends
into Heaven and is crowned. Beside and beneath her, on
clouds, angel musicians play double bass, organ, viol,
lute, flute, cello, an ubo (unidentified bowed object)
and duct-flute (probably a recorder). Two cherubs at the
very front centre sing from music. The duct-flute is at
the lower left and is of alto or tenor size, held at the
lips but not played. Its sideways position shows a marked
beak, although the window/labium is not visible. The
right hand is lowermost with all fingers down, but two
finger-holes show close to the bell flare of this
otherwise cylindrical instrument.
-
Coronation of the Virgin (p.1595), oil on
canvas, 117.8 × 141.3 cm, Annibale Carracci
(?1560-1609). New York: Metropolitan Museum of Art, Inv.
1971.155. Ref. Web-site: Metropolitan Museum of Art (2002, fig.
- b& w); Exhibition: Giovanni Lanfranco: La
Vertigine del Barocco, Palazzo Venezia, Rome (March -
July, 2002); Anthony Rowland-Jones (pers. comm., 2002);
Constance Old (via Amanda Pond 2002, pers. comm.) Angels
sing and play viola, viols, mute cornett, lute and (at
far right in shadow) a small pipe which could be a
recorder. The pipe is cylindrical before the bell where
half the lower right-hand is completely hidden.
-
Adoration of the Shepherds (1597-1598), oil on
canvas, 103 × 85 cm, Annibale Carracci
(?1560-1609). Orléans: Musée des
Beaux-Arts. Ref. Villa I Tatti ND623C38P6; Posner (1971:
44, pl. 102a); Paolo Biordi (pers. comm., 2000). The
shepherds join Mary in worshipping the Holy Child whilst
above them angel musicians sing and play violin, viol,
lute and a flared-bell recorder, the charcteristic beak
and window/labium of which are clearly visible, though
the fingering seems haphazad.
-
Studies of angels playing the viol and
recorder (ca 1597), black chalk on laid, off-white
paper, 16.9 × 21.4 cm, Annibale Carracci
(?1560-1609). Liverpool: The Walker Art Gallery. "This
sketch is a working drawing for the Adoration of the
Shepherds (Musée des Beaux-Arts,
Orléans) painted by Annibale Carracci in Rome. It
shows the figures not as finally painted but in the
process of being defined. Many changes were made between
the initial large sketch (now in the Fitzwilliam Museum,
Cambridge) on which these figures are based and the final
painting.
The combination of relatively finished areas, such as the
viol-playing angel, with rougher drawn figures, is common
in later drawings by Carracci. However, the careful chalk
marks are not altogether typical of his later style. This
may indicate the work was executed by an assistant.
This drawing is not securely dated. It may have been made
around the same time as the painting (1597 - 1598), or
may date from after 1600." (Walker Gallery).
-
Silenus with a Pipe, school of Annibale Carracci
(?1560-1609). Dubrovnik: Rector's Palace, Art Gallery and
Museum. Ref. Charles Rowland-Jones (pers. comm., 2001).
This picture is hung above a doorway and is dark and
probably needs cleaning. Silenus' pipe is of soprano
size. It is played right hand lowermost with six fingers
covering their holes and the lowermost little finger
lifted as if above its hole. There is a possible
window/labium, but no other identifying details are
discernible. Silenus' hands are in recorder-playing
position (Charles Rowland-Jones, loc. cit.)
Ludovico [Lodovico] Carracci
Italian painter, draghtsman, etcher and printmaker,
noted for his religious compositions and for the art academy
he helped found in Bologna in 1582, which helped renew
Italian art in the wake of Mannerism; his later work became
overblown and eccentric, displaying a curious
‘gigantism’; born Bologna (1555), died Bologna
(1619); cousin to Annibale (1560-1609) and Agostino
(1557-1602).
-
The Glory of the Angels, oil on canvas, 350
× 200 cm, Ludovico Carracci (1555-1619). Bologna:
Church of San Paolo. Ref. Abbiati, in Fabbri (1952, 2:
113); Remnant (1981: fig. 136 – b&w); Archiv
Moeck; Villa I Tatti ND623C42B6; Bodmer (1939: 128, no.
36, pl. 92 – col.); Paolo Biordi (pers. comm.,
2000). A host of angels play instruments of every kind
including triangle, cymbals, organ, cornett, lute, viol,
a magnificent bass sackbut, harp and two or three
duct-flutes. Of the latter, one (near the cornett player)
is a cylindrical flageolet or recorder; the other (near
the sackbut player) is flared and obviously a recorder,
with the little finger of the lowermost hand covering its
hole. Amongst the shady figures in the background, one
plays a pipe which could be a duct-flute. This painting
has been attributed to Annibale Carracci.
-
The Recorder Lesson, Ludovico Carracci
(1555-1619). Florence: Uffizi, Print Collection. Ref.
Archiv Moeck; Paris RIdIM (1999). His arms encircling his
young pupil, a man fingers a cylindrical recorder whilst
she blows it.
-
The Triumph of Bacchus, drawing, Ludovico Carracci
(1555-1619). Florence: Uffizi. Ref. Visual Collection,
Fine Arts Library, Harvard University, 372d.C233.4Ba;
Rasmussen (1999c). "Bacchants play recorder, straight
trumpet and tambourine. A centaur plays a lyre"
(Rasmussen, loc. cit.)
-
The Ascension, oil on canvas, 256 × 160 cm,
Ludovico Carracci (1555-1619). Modena: Galleria Estense,
Inv. 272. Ref. Bodmer (1939: 128, no. 36, pl. 92 –
col.); Villa I Tatti ND623C42B6; Paolo Biordi (pers.
com., 2000); Cosetta (1985, 1: pl. 59). Christ rises to
heaven, born aloft by winged putti and entertained on
either side by angel musicians. On the left the latter
play violin, theorbo, flute, and a duct-flute (flageolet
or recorder). On the right are viol, cornett and a second
duct-flute (flageolet or recorder). Of both duct-flutes
only the head and window/labium are visible.
-
Assumption, Ludovico Carracci (1555-1619). Modena:
Galleria Estense, Inv. 407. Ref. Anthony Rowland-Jones
(pers. comm., 2002). Musical angels include viol, viola,
cornett, flute, archlute and a duct-flute clutched in the
player's left hand beyond which only the head end is
visible. Another possible duct-flute is just visible at
the top right which has a window/labium but is held so
clse to the mouth as to leave little room for a windway.
-
Mystic Marriage of the Virgin, Ludovico Carracci
(1555-1619). Rome: Chiesa del Corpus Domini. Ref. Staedel
(1933: pl. 57); Anthony Rowland-Jones (pers. comm.,
2002). At the top, the Virgin kneels before Christ with
angels, some of whom have musical instruments. At the
right is a viol player; at the left are a choir, a
lutenist, and a piper (far left). The pipe (of alto size,
played right hand lowermost) could be a recorder or a
cornett.
Michiel Carree
17th century Dutch artist active in Den Haag; son of
Franziskus Carree.
-
Landscape with a Flute-playing Shepherd, oil on
canvas, 63 × 53 cm, Michiel Carree (17th century).
Brunswick: Herzog Anton Ulrich-Museum, Inv. No. 1061.
Ref. Bildkunst Foto Marburg (DISKUS-Objekt-Dokument
00010800 – b&w). A shepherd sits on a bank
playing his pipe (? flageolet or recorder) as his
assistant herds their beasts into an opening in the
forest.
Rosalba Giovanna Carriera
Italian artist specialising in miniature pastels and
oils on ivory early in her career and later painting large
pastel portraits, genre scenes about the lives of women and
classic mythological scenes; born Venice (1675), died Venice
(1757).
-
Love presiding over a concert of flute and
harpsichord, painted ivory, circular, 10 cm
diameter, Rosalba Giovanna Carriera (1675-1757). Paris:
Musée de Louvre, Inv. 4801. Ref. Joconde Website
(2007 - col.) A cupid stands between two lovers, a young
woman playing a harpsichord and a young man playing a
slender pipe with a hint of a window/labium and a flared
bell, his fingers in a suitable position for
recorder-playing.
Cristoforo Caselli [Castelli] (da Parma) [called 'Il
Temperelli' or 'Il Temperello"] (1461 – before 1520),
Italian
Italian painter of religious works which were
characterised by an individual narrative style; born Parma
(ca 1461), died Parma (before 1521).
-
La Madonna col Bambino intronoeiss Hario, Giovanni
Batista e Padre Eterno, Cristoforo Caselli (1461
– before 1521). Parma: Galleria Nazionale. Ref.
Copertini (1932: pl. 3); Testi (1905: 13); Visual
Collection, Fine Arts Library, Harvard University,
C263.34[a]1; Paris RIdIM (1999); Rasmussen (1999b). Three
boy musicians stand to the right, three singers to the
left. The musicians play lute, vola da braccio or viol
(mainly hidden behind the recorder player) and recorder.
The recorder player has all fingers down (left hand
lowermost) with right thumb in recorder position. The
instrument is of alto size, cylindrical, with a gentle
flare towards the bell. The bell opening shows an
expanded bore. The window is not clearly depicted, but
there is a metal or ivory mouthpiece curved towards the
player's lips. Notes by Anthony Rowland-Jones (pers.
comm.) An image provided by Angelo Zaniol (pers. comm.)
shows without any doubt that the recorder beak is
reinforced by a brass and not ivory or bone.
Nicola Casissa (op. 1730), Italian
-
Vase of Flowers and a Putto with a
Flute, oil on canvas, Nicola Casissa (op. 1730).
Location unknown. Ref. Gabrius Data Bank (2002 - col.)
Beside an enormous vase of flowers, a discretely draped
putto with a floral wreath plays a small conical pipe,
possibly a duct-flute. Offered for sale with a pendant,
Vase of Flowers and a Putto with a Parrot.
Francesco Cassone (19th century), Italian
- Facade decorations (ca 1842), Francesco
Cassone (19th century). Noto: Teatro Vittorio Emanuele III.
Ref. Anthony Rowland-Jones (pers. comm., 2000). The
theatre, designed by Cassone, was built in the main square,
and clearly, even in 1842 Noto was proud of its baroque
buildings (which are splendid even if collapsing) and the
theatre architect modelled his façade largely on the
many in the same area from a century earlier. Two sets of
trophies on the left and right outside uprights at the
front entrance and two more on the inner left and right,
show a total of ten recorders of which three have clear
window/labium's and all 10 have beaded mouthpieces. Two
have baroque decoration at the beak. Those showing the foot
have a markedly flared bell. Other instruments include
flutes, panpipes, oboes, lutes, trumpets, curved horns,
violas, cymbals, and lyres. There are two open music books.
At the sides of the building are two more identical pairs
of trophies each with a recorder crossed with an oboe. None
is shown complete. Notes by Anthony Rowland-Jones (pers.
comm., 2000).
Bellerophonte [Bellerofonte] Castaldi
Italian theorbo player from Modena; born ca 1581, died
1649.
- Title page: Capricci a due
stromenti, engraving, published by the composer,
Bellerophonte Castaldi (1622). Ref. Fraenkel (1968: pl.
84); Boydell (1982: 285, pl. LXXV). The eccentricities of
Castaldi's life, as well as the notion of caprice and
fantasy, are reflected in this unusual title in which his
first name is spelled backwards. Above the title is an
angel with outstretched wings. Surrounding it are winged
putti and fauns singing and playing musical instruments. A
faun plays a shawm with a square fontanelle at the wrong
end of the instrument, possibly through confusion with a
wind cap. A trophy of wind instruments above his head
include a lysarden and a sharply tapered recorder of plain
design, the paired finger-holes at the bottom clearly
shown. Above the female faun on the left is a much bigger
cylindrical recorder the characteristic beak and three
finger-holes of which are clearly visible; also a shawm, a
straight tumpet and the body of another wind instrument.
Winged putti at either side play fiddle and tamborine. At
the bottom of the page is a trophy with a coat of arms and
two theorbos.
Abdón Castañeda
Spanish painter; born ca 1580, died Valencia (1629).
-
Virgin
with Angels (ca 1610-1620), oil on canvas, 106
× 140 cm, Abdón Castañeda (ca
1580-1629). Valencia: Museo de Belles Artes San
Pío V., Inv. No. 3860. Ref. Pintura y Musica en
el Museo San Pio V (1995: 77, pl.-col.); Paolo Biordi
(pers. comm., 2001). On either side of the Virgin and
Child, decidedly female-looking angels plays a narrowly
conical pipes. That on the right is a duct-flute played
one-handed, the window/labium clearly depicted. The
longer one on the left, played two-handed, is ambiguous
with no window/labium visible, but three finger-holes are
visible above the right hand and by the first finger and
the bell is well flared, indicating that this might
represent a recorder.
Giovanni Benedetto Castiglione (by name Il Grechetto,
French Le Benèdette)
Italian artist, equally at home on an intimate scale and
in monumental works, in rustic, genre and in the grand
manner; his works abound in animals; inventor of the monotype
technique – a single print made from an unincised
cooper plate painted in oils or printer's ink; born Genoa
(1609), died Mantua (1670).
-
Allegory [of the Arts], Giovanni Benedetto
Castiglione (ca 1610-1665). Kansas City: William Rockhill
Nelson Gallery of Art. Ref. Rich (1969: 126). A panoply
of musical instruments of all kinds lie littered about
the countryside; a woman dances in the foreground
accompanied by musicians playing lute and bagpipe! A
reclining satyr holds a small, slightly flared recorder.
In the distance, revellers frolic in disarray.
-
The Education in Music of the young Achilles by the
Centaur Chiron, Giovanni Benedetto Castiglione (ca
1610-1665). Hamburg: Kunsthalle. Ref. Munich RIdIM (1999:
Hkh 144). Achilles plays a guitar while Chiron points to
the music. At Achilles' feet, tied together, a small
slide trumpet and an alto recorder with a slightly fared
bell. Notes by Anthony Rowland-Jones (pers. comm., 1999).
- The Trojan War, an Illustrated Companion:
The Life of Achilles: The Education of Achilles
(2002). Achilles practices the guitar under the guidance of
Chiron, whilst another centaur dozes beside a plinth. In
the foreground lies a garland comprising a small shawm
crossed by a flared-bell recorder and some flowers.
- From Varii Capricci, E Paesi:
The Education in Music of the young Achilles by the
Centaur Chiron, etching, 210 × 298 mm, by
(1680 – 1767), by Gaetano Zompini (1700-1778) after
Giovanni Benedetto Castiglione (ca 1610-1665). Boston:
Museum of Fine Arts, 2001.641; San Francisco: Achenbach
Foundation for Graphic Arts. Formerly attributed to:
Anton Maria Zanetti I (1680–1767).
-
Pan teaching the young Olympia to play the Flute
(1648), engraving by Jo. Iacomo Rossi after, Giovanni
Benedetto Castiglione (ca 1610-1665). Paris: Louvre. Ref.
Bartsch (1854-1870, 21: 17.15); Rosenberg (1969: 92);
Paris RIdIM (1999). Paris RIdIM (loc. cit.) give the
title as Marsyas and Olympia. Pan shows Olympia
how to play a pipe as she sits at the foot of a tree
beside a culvert gushing water in which two putti gambol.
The instrument is ambiguous and could be a chalumeau or
duct-flute. The mouthpiece looks rather like a reed.
However, two finger-holes are clearly visible below the
midle finger of the lowermost (right) hand and one above,
so this just might be a recorder. Notes (in part) by
Anthony Rowland-Jones (pers. com., 2000).
-
A Shepherd and his Flock attributed to Giovanni
Benedetto Castiglione (1609-1670). Bordeaux: Musée
des Beaux-Arts. Ref. Joconde Website (1999).
-
Adoration of the Shepherds, drawing in sepia,
Giovanni Benedetto Castiglione (1609-1670). Venice:
Galleria dell'Accademia, exhibition Disegni
genovesi 28 September 2002 – 6 January 2003.
Ref. Angelo Zaniol (pers. comm., 2003). Shepherds crowd
around the Holy Family. One of them, a bearded man, holds
a tenor-sized flared pipe with a small notch at the
blowing end which may represent the window/labium of a
duct-flute.
-
Adoration
of the Shepherds, painting, Giovanni Benedetto
Castiglione (1609-1670). Ref. Website: Early Music
Gallery (2005 - col.) Admiring angels hover overhead,
Joseph leans on his shoulder, asleep, and shepherds pay
homage to the Holy Child. One of the shepherds holds a
tenor-sized flared recorder.
Castrucci Workshop (1590s – 1624)
Cosimo Castrucci was a Florentine artist and one of the earliest masters of the art of pietre dure stone-cutting which flourished in Florence well into the 18th century (and is still practised there today). His mosaics of semi-precious stones were avidly collected by the emperor Rudolf II whose patronage persuaded Castrucci’s son Giovanni to move to Prague, where he established a workshop to produce pietre dure pieces for the Rudolfine court.
- Pietra dura table-top with coat of arms and monogram of Karl I von Liechtenstein (ca 1623), commessi di pietre dure, garnets, and gilt bronze, 93 × 89 cm, Catrucci Workshop (1690s – 1624).
Vienna: Palais Lichtenstein, Inv.-No. SK1401.
Ref. Anthony Rowland-Jones (pers. comm., 2007; Website: Palais Lichtenstein (2007 - col.)
The coat of arms and monogram on the table-top in Commessi di pietre dure indicate the piece was commissioned by Prince Karl I von Liechtenstein. It is divided into small fields by strips of reddish-brown jasper, and the fields are inlaid with landscape images, trophies, coats of arms and geometric forms. The symbolism of these motifs reflects the influence of the scientists and philosophers active at the court of Emperor Rudolf II in Prague (1552–1612). The platonic bodies were equated with elements of cosmology: tetrahedrons and octahedrons thus stand for the elements fire and air. Within Baroque society´s concept of the hierarchy of nature, precious stones occupied a similarly outstanding position as princes did in society. This explains why it was a ruler’s prerogative to possess precious stones. One of the trophy designs shows two kettledrums and two trumpets with, behind the kettledrums, sticking out on each side, an instrument that looks like a thin-bore tenor recorder or a flute of some kind – but it does have a beaked mouthpiece and some very slight bell flare and so may represent a recorder.
Luigi Catani
Italian decorative painter and stuccoist; known for his
monochrome depictions of historical and mythological themes;
born Prato (1762); died 1840.
- Ceiling decoration, Luigi Catani
(1762-1840). Florence: Palazzo Pitti, Sala dell' Educazione
di Giove. Ref. Anthony Rowland-Jones (pers. comm., 2002). A
spectacular coffered ceiling on a diagonal pattern creating
many spaces for single objects, such as panipes which
appear frequently. Near the SW corner is an alto recorder
with a scroll of music over it; the instrument, seen
sideways on, has a beaked mouthpiece with a long windway.
The window/labium is not visible, but three upper
finger-holes are, before the music obscures the instrument
from which the flared bell end obtrudes.
Sigismondo Caula
Italian artist; born Modena (1637), died ca 1694.
-
St Carlo Borromeo Administers to the Sick, oil on
canvas, 97 × 147 cm, Sigismondo Caula (1637-1694).
Modena: Galleria Estense. Ref. Cosetta (1985, 1: pl. 71);
Anthony Rowland-Jones (pers. comm., 2002). An episode
from the life of St Ambrogio. The sick in this case were
sufferers from the plague in Milan in 1576. Among 17
musicians in various places, mainly trumpeters, a group
at the left comprises 2 violas, bass, lute and a tenor
recorder. The later is played right hand lowermost, the
left hand rather too high up. The moutpiece is beaked,
the body is cylindrical, possibly with a very slight bell
flare. The player's position in shadow makes it
impossible to see details other than the outline
(Rowland-Jones, 2002).
-
Saint Ambrose on Horseback in the
Crowd, oil on canvas, Sigismondo Caula (1637-1694).
Modena: Galleria Estense, Inv. 1884 n. 2927 Ref. Cremona,
Università di Pavia, Facoltà di Musicologia
(MLS); Institut für Musikwissenschaft (2003 - col.)
St Ambrose, enters the city of Milan, looking around and
taking in the reality of the place in its various
aspects. He is surrounded by trumpeters accompanying his
arrival in a solemn way, and by the men and women
acclaiming him; there are also a group of brawlers, a
poor man lying on his back – perhaps he is ill, a
woman praying, and a group of street musicians with a
narrowly cylindrical alto-sized recorder, violin, viola
(?), cello and lute.
Louis de Caullery
Flemish artist; born ? Courtray (before 1582), died
Antwerp (1621/22).
-
Nativity, oil, Louis de
Caullery (op. 1582-1621/2). Ref. Gabrius Data Bank (2000
- col.) The Holy Family are surrounded by their visitors.
In the clouds above, angel musicians sing and play lute,
harp, organ, and a flared-bell pipe. The latter is
possibly a recorder, since a shawm or trumpet would be
rather out of place in this company. The "portholes" in
the clouds through which the heads of putti can be seen
are a curious touch.
Bartolomeo Cavarozzi [del Crescenzi]
Italian painter, active also in Spain; born Viterbe (ca
1600), died Rome (1625).
-
The Lament of Aminta, 1614-1615), Bartolomeo
Cavarozzi (ca 1600-1625) & Master of the Acquavella
Still Life (fl. 1610-1620). Italy: Private collection.
Ref. van Heyghen (1995: 7, pl. 1, caption – the
illustration itself is in serious error!); Exhibited:
The Genius of Rome, Royal Academy of Art, London
(2001); Anthony Rowland-Jones (pers. comm., 2001);
Rowland-Jones (2001: 15). “Depicts Aminta's Lament
(from Tasso), probably based on a lost work by
Caravaggio. This has music in it, showing the title page
of the score of Aminta Musicale, and the shepherd
Aminta expresses his grief over the death of his lover
Sylvia by playing on a recorder, while his companion
shepherd, Tirsi, leans over a tambourine, presumably
Sylvia's, with a viola and bow on the table just below.
The recorder is a perfect representation – a rather
heavily-bodied alto, with no decoration. Aminta's Hands
are partly hidden by vine-leaves (left hand uppermost),
but the paired little-finger-holes and the gently flared
bell are clear, as is the bore end opening showing that
most of the flare is in wood-thickening”
(Rowland-Jones, loc. cit.)
-
Young Violinist, oil on canvas,
100 × 120 ( originally 87 × 111) cm,
attributed to Bartolomeo Cavarozzi (ca 1600-1625). Paris:
Louvre Inv. R.F 1937-6. Ref.
Musique-Images-Instruments 2 (1996: 240);
Lallement & Devaux (1996: 239-241, pl. 6 –
b&w); Joconde Website (1999); Visual Collection, Fine
Arts Library, Harvard University, 372.It117.90[h];
Rasmussen (1999c). A young man (possibly a woman)
languishes with one arm on a table on which lie his
violin and a book of music, the other arm clutching a
tambourine. Beside him, a soulful youth with a laurel
crown plays a renaissance-style flared-bell alto recorder
(perfectly depicted); in front of him on the table grapes
are heaped. Formerly attributed to Giovan Battista
Crescenzi. There are two versions superior in quality to
this in private collections in London and Bergamo.
-
Young Violinist, oil on canvas, attributed to
Bartolomeo Cavarozzi (ca 1600-1625). Bergamo: Collection
Parelari. Ref. Paris RIdIM (1999). A young man languishes
with one arm on a table on which lie his violin and a
book of music, the other arm clutching a timbrel. Beside
him, a soulful youth with a laurel crown plays a flared
bell alto recorder; in front of him on the table grapes
are heaped. Formerly attributed to Giovan Battista
Crescenzi. There are versions of this in a private
collection in London and in the Louvre.
Cecco del Caravaggio = Francesco
Buoneri
Jules-Cyrille Cavé
French artist working in Paris; painted genre scenes and
botanical still-lifes; born Paris (1859), died Paris (1940).
-
Flute Lesson, oil on canvas, 155 × 107 cm, Jules-Cyrille Cavé
(1859 – ca 1940). Location unknown: auctioned
Bonhams (New Bond Street), Sale 11930 - 22 March 2005, Lot 102, (sold for £34,800) Ref. Gabrius Data Bank (2007 - col.)
An eldery herdsman in a loin-cloth and fur blanket teaches a young
boy in a loin-cloth to play a narrowly conical pipe,
possibly a recorder given the disposition of the fingers.
Giacomo Cavedone [Cavedoni]
Italian painter of the Bolognese School who worked in Rome and Venice; his subjects were mostly religious in a style inspired by Ludovico Carracci; born Sassuolo, near Modena (1577), died 1660.
- Flute Player, drawing, Giacomo Cavedone (1577-1660).
Florence: Galleria degli Uffizi, Gabinetto Disegni e Stampe.
Ref. Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0017249 (2009 - b&w).
A man viewed in side profile plays a cylindrical pipe of alto/tenor size. If it is indeed a flute then it must be a duct-flute, possibly a recorder.
Cenni di Francesco di Ser Cenni
Italian painter and manuscript illuminator, noted for
his eclectic style, his use of perspective to create depth,
his strong sense of narrative, and his often elongated
figures; active 1369-1415.
-
Virgin and Child with Saints and Angels
(?1369-1380), panel, 87 × 47 cm, Cenni di Francesco
di Ser Cenni (op. ?1369-1415), Florentine. Florence:
Galleria Luigi Bellini di Giusepppe e Mario Bellini,
Lungarno Soderini, 5. Ref. Catalogue of the Biennale des
Antiquaires, Florence (1973); Brown (1984, 1). Four
angels play musical instruments: harp, two psalteries and
a flared-bell pipe. Brown (loc. cit.) identifies the
latter as a recorder or shawm', but it is impossible to
tell.
Carlo Ceresa
Italian artist; known for his distinguished portraits,
religious subjects; born San Giovanni Bianco, near Bergamo
(1609), died Bergamo (1679).
-
Still-life with Musical Instruments, Carlo Ceresa
(1609-1679). Bergamo: Private Collection. Ref. Tintori
(1985: 113). Beneath a tasselled drape on a table lie a
violin, viola da braccio, guitar, lute and trumpet. From
beneath the viola da braccio projects the foot of a
recorder, the thumbhole of which is clearly depicted.
Michelangelo Cerquozzi [Michelangelo delle Battaglie]
Italian painter of bambocciate (low-life subjects),
battles, small religious and mythological works and
still-lifes; born Rome (1602), died Rome (1660).
-
Shepherds Resting and Making Music, with a Cow and
Sheep in a Landscape Circle of Michelangelo
Cerquozzi Location unknown: auctioned 29 October 2003
(sold). Ref. Gabrius Databank (2007 - col.) A dark scene,
presumably at night. A group of shepherds listen to one
of their companions playing bagpipe whilst another plays
on a cylindrical pipe, probably a recorder since the
instrument is rather wide and the little finger of the
lowermost (left) hand seems to be covering its hole.
Giovanni [Gian] Domenico [Perugino, Cavaliere] Cerrini
Italian painter and draughtsman whose work is
characterised throughout by clear and unitary composition,
the almost statuesque postures of the figures, and a
chiaroscuro softness; born Pérouse (1609), died Rome
(1681).
-
The Muse Euterpe as a Young Woman
Playing the Flute, oil on canvas, 63 × 47,
Giovanni Domenico Cerrini (1609-1681). Rennes:
Musée des Beaux Arts, Inv. 801.1.19. Ref. Joconde
Website (1999). A young woman plays a very slender
duct-flute (flageolet or recorder) the beak of which is
just visible, though other details are obscure.
Giacomo [Jacop] Ceruti [il Pitocchetto] (1698-1767),
Italian
Italian painter, one of a group of artists working in
Bergamo and Brescia who observed reality with an unusual
freshness and directness; painted religious subjects and
portraits but was most distinguished as a painter of genre
and low-life scenes which included many pictures of beggars
and vagabonds ( pitocchi), hence his nickname ‘il
Pitocchetto’; born Milan (1698), died Milan (1767).
-
Contadino with a Recorder, Giacomo Ceruti
(1698-1767). Treviso: Il Museo Civico 'Luigi Bailo'. A
peasant boy plays an alto/tenor recorder with a marked
bell flare. The window/labium is clear; all fingers of
the upper (left) hand are on the instrument; the
lowermost hole (for the right hand) is open and is not
offset; and the second lowest finger is half-holing. The
4+3 fingering is unusual.
- [
A Man with a Recorder], oil on canvas, Giacomo Ceruti
(1698-1767). Ref. Gabrius Data Bank (2002 - b&w.) A
man, half length, in a wide-brimmed hat, holds a highly
decorated recorder reminiscent of surving examples by
Ancitui and Gahn.
-
Portarolo seduto / The Basket Bearer, Giacomo
Ceruti (1698-1767). Milan: Castello Sforzesco. Ref.
Angelo Zaniol (pers. comm., 2004). The ancient term
portarolo denotes the old trade of panage which
was undertaken by the poorest youngsters. A young lad,
warmly dressed, sits on a basket in a town square holding
a cylindrical recorder of alto size.
Amidano Giulio Cesare – see Sisto
Rossa Badalocchio
Bartolomeo Cessi
Italian painter and draughtsman, possibly also a
sculptor, known for his religious frescos and paintings in a
sober devotional style; born Bologna (1556), died Bologna
(1629).
- Cupola decoration: Holy Trinity
encircled by angel Musicians (1594), fresco, Bartolomeo
Cessi (1556-1629). Siena: Cetosa di Maggiano. Ref. Graziani
(1988: 19, 24, 163); Villa I Tatti ND623C54G7; Paolo Biordi
(pers. comm., 2000). Christ is crowned by the Father, both
seated on clouds, whilst a Dove hovers above them. In a
circle round about the central scene angel musicians sing
and play musical instruments including harp, trumpet,
tambourine, violin, viols, triangle and sackbut. One angel
holds aloft a flared-bell pipe (recorder or small shawm)
the head of which is hidden behind a tambourine.
-
Holy Trinity encircled by angel Musicians (1594),
preparatory sketch, pen and brown ink, Bartolomeo Cessi
(1556-1629). Ref. Graziani (1988: 163, pl. 18); Villa I
Tatti ND623C54G7; Paolo Biordi (pers. com., 2000). Christ
is crowned by the Father, both seated on clouds, whilst a
Dove hovers above them. In a circle round about the
central scene angel musicians sing and play musical
instruments including harp, trumpet, tambourine, violin,
viol, triangle and sackbut. Four angels play or hold
ambiguous pipes (possibly recorders).
Marc Chagall [Mark Zakharovich Shagal]
Russian-born artist, book-illustrator and designer of
stained glass and theatrical costumes, active mainly in Paris
and later in the USA; he combined images from the Jewish life
and folklore of his native Russia with those from the Bible
to create a highly distinctive style remarkable for its sense
of fantasy; born Pestkovatik, Belorussia (1887), died
Saint-Paul-de-Vence, France (1985).
-
The Three Candles (1938-1940),
oil on canvas, 127.5 × 96.5 cm, Marc Chagall (1887-1985). Private
Collection. Ref. Compton (1985: pl. 100 – col.);
Anthony Rowland-Jones (pers. comm., 2001). At the bottom
right a harlequin figure wearing a green cap plays an
ambiguous flared-bell pipe that may be intended to
represent a recorder.
-
Madonna of the Village
(1938-1942), Marc Chagall (1887-1985). Ref. Compton
(1985: pl. 83 – col.); Anthony Rowland-Jones (pers.
com., 2001). Two singing angels are accompanied by a goat
playing violin and an angel playing an ambiguous
flared-bell pipe that may be intended to represent a
recorder since a slight cut-out near the beak appears to
represent a window/labium, and a number of finger-holes
are visible.
-
La Mariée (1950), Marc
Chagall (1887-1985). Paris: Galerie Maeght; London:
Sotheby's, November 1967. Ref. Anthony Rowland-Jones
(pers. comm., 2000; 2002d: front cover - col.) Beside the
bride a goat plays a cello (Chagall's imagery frequently
included the violin family, usually painted blue –
but this cello is brown), a cock beneath. At the bottom
right is a pipe-player; wind instruments are infrequent
in Chagall's work. The pipe is of alto size, expanding
conically from a small mouth end to a bell which lacks a
flare. If the instrument is not really recognisable its
symbolism in this subject certainly is! Notes by Anthony
Rowland-Jones (loc. cit.)
-
The Concert (1957), 140 × 239.5 cm, Marc
Chagall (1887-1985). Private Collection. Ref. Compton (1985: pl. 98); Anthony
Rowland-Jones (pers. comm., 2001); Olga's Gallery (2009 - col.) At the centre of this
painting a bride and groom are shown as lovers. At the
top right a girl in a striped blouse and checked skirt
plays an ambiguous flared-bell pipe of alto/tenor size
that may be intended to represent a recorder. Towards the
top left a man plays a similar instrument.
-
Dance (1962-1963), Marc Chagall
(1887-1985). Image from Carol L. Gerten (Jackson). Ref.
Compton (1985: pl. 100 – col.); Anthony
Rowland-Jones (pers. comm., 2001). At the bottom right
musicans play piano, violin, cello, drum and an ambiguous
pipe of tenor size that may be intended to represent a
recorder.
-
Music (1962-1963), Marc Chagall (1887-1985). Ref.
Compton (1985: pl. 101 – col.); Anthony
Rowland-Jones (pers. comm., 2001). At the bottom right
two lovers are accompanied by musicians singing and
playing cello and an ambiguous flared-bell pipe that may
be intended to represent a recorder.
-
The Large Circus (1968), 170 × 160 cm, Marc Chagall (1887-1985).
Private Collection. Ref. Compton (1985: pl. 116 – col.); Anthony
Rowland-Jones (pers. comm., 2001); Website: chosun.com (2009 - col.)
Men, women and children look up at a ghostly figure above them playing a
yellow, flared pipe which could represent a trumpet or
possibly a recorder. See also The Large Grey
Circus, detail at top.
-
Musicians (1979), Marc Chagall (1887-1985). Ref.
Compton (1985: pl. 120 – col.); Anthony
Rowland-Jones (pers. comm., 2001). Next to a violinist a
man in a red bowler hat plays an ambiguous flared-bell
pipe of alto/tenor size that may be intended to represent
a recorder.
-
The Grand Parade (1979-1980),
Marc Chagall (1887-1985). Ref. Compton (1985: pl. 121
– col.); Anthony Rowland-Jones (pers. com., 2001).
A man plays a flared wind instrument that seems almost
certain to be a recorder. It is of alto/tenor size, the
beak and window/labium are visible and there is an offset
hole for the little finger of the lowermost hand.
-
Vie (1964), Marc Chagall (1887-1985). Around a
mother, her husband and baby life revolves: lovers.
musicians, dancers, the Eiffel Tower … In the top
right-hand corner a woman plays a conical pipe which
possibly represents a recorder.
-
The Flute Player (ca 1957),
colour lithograph on paper, 22.9 × 39.4 cm, Marc
Chagall (1887-1985). Stamford: Harbour View Center for
Antiques, FMT-33075 (for sale). Ref. Gabrius Data Bank,
20th Century (2002 - col.) A woman with flowing hair, on
her side, plays a conical pipe with the characteristic
beak of a duct-flute; a window/labium is hinted at; three
finger-holes are visible; and the thumb of the uppermost
hand seems well angled for recorder . A cello floats
above her, and above that a bird. In the distance are
some houses. Published by Maeght, Paris in 1957 as part
of a set printed by Sorlier from the celebrated Mourlot
atelier in Nice, France, where the artist lived. The set
contained a total of 15 lithographs (including cover).
-
The Magic Flute, lithograph on
paper, Marc Chagall (1887-1985). Location unknown: copies
auctioned 15 November 1990 (sold), 7 November 1996
(sold), 01 May 2003 (sold), 18 September 2003, 03
November 2005 (sold). Ref. Gabrius Data Bank (2007 -
col.) In a garden are a snake, a lion, hens, a mule, a
dove, and a chimera (with a hen's legs and feet, a
woman's body, and angel wings) playing a flared-bell
pipe. This work has also been offered for sale attributed
to Charles Sorlier, Chagall's friend and a lithographer
who worked with him in the production of his works in
this medium.
-
The Magic Flute, lithograph on
paper, Marc Chagall (1887-1985). Location unknown: copies
auctioned 04 March 2003 (sold), 15 September 2005 (sold).
Ref. Gabrius Data Bank (2007 - col.) A coloured version
of this work. In a garden are a snake, a lion, hens, a
mule, a dove, and a chimera (with a hen's legs and feet,
a woman's body, and angel wings) playing a flared-bell
pipe. This work has also been offered for sale attributed
to Charles Sorlier, Chagall's friend and a lithographer
who worked with him in the production of his works in
this medium.
-
Maternité au Centaur
(1957), coloured lithograph on pale cream wove Arches
paper, 24.8 × 23.5 cm, Marc Chagall. London:
William Weston & Co. 24/90 (sold 2002); San
Francisco: Art Gallery, Gleary St (East of Union Square),
88/90 (for sale, 2002); Blaine: Fisher Fine Art (for sale, 2009)
Ref. Website: William Weston & Co. (2002); Website: Fisher Fine Art (2009 - col.) A reclining nursing mother is serenaded by a
blue centaur who plays a conical pipe, possibly a
duct-flute.
-
Musicians (1962), lithograph in
black ink on pale cream stiff wove arches paper, 32.4
× 24.6 cm, Marc Chagall (1887-1985). London:
William Weston & Co., 42/150 (sold). Ref. Website:
William Weston & Co. (2002). Four musicians play
violin, cymbals, a curved horn, and a straight, flared
pipe, possibly a duct-flute.
-
Angel over Vitebsk (1977), oil on canvas, 81 × 100 cm, Marc Chagall (1887-1985).
Private Collection.
Ref. Web-site: choson.com (2009 - col.)
Above the city lovers embrace, a horse bears a candalabrum (Menorah) on its back, and a crowd looks up at musicians playing violin and a conical pipe, probably duct-flute.
Thomas Chambars – see Michelangelo
Merisi da Caravaggio
Jerome François Chantereau [Chanterau or Chantreau]
(ca 1710-1757), French
-
The Dancing Dog (a. 1749), Jerome François
Chantereau (ca 1710-1757). Stockholm: Nationalmuseum, NM
776. Ref. Anthony Rowland-Jones (pers. comm., 2000).
Members of a peasant family sit and stand around,
watching a small dog on his hind legs – whilst
another dog watches disapprovingly! Music is provided by
a boy playing what looks like an alto-sized duct-flute
(possibly a recorder). The instrument is mainly slender
and cylindrical, but has a considerable bell flare. Both
the boy's hands are well down the instrument, with the
little finger of the lower (left) hand outstretched to
its hole near the start of the flare. Notes by
Rowland-Jones (loc. cit.)
-
Flute Player and Children in the
Forest, oil on canvas, Jerome François
Chantereau (ca 1710-1757). Location unknown: Auctioned by
étude Tajan, Paris, 14 December 1998 (unsold).
Gabrius Data Bank (2002 - b&w). In the forest a girl
with a basket of flowers sits playing with her dog, a boy
offers another girl a bouquet, and a second boy sits
playing a long cylindrical pipe. The first finger of the
piper's upper (right) hand and all four fingers of his
lower (left) hand are covering their holes, so the artist
may have had a recorder in mind.
Wonjoung Chang (fl. 2009), USA
- Untitled, cover illustration, Wanjoung Chang (2009).
American Recorder 50(2): front cover (2009).
Above a stylised New York skyline fireworks spell out "70th". In the foreground the Statue of Liberty holds a neo-baroque recorder high in the air. Celebratest he 70th anniversary of the American Recorder Society.
Pierre Chapelle
French painter of ceramics, known principally for his celestial and terrestial spheres by Pierre Chapelle (1725), now at the Musée National de Céramique, Rouen.
- Recorder Player, painted ceramic tile, attributed to Pierre Chapelle (17-18th century).
Sèvres: Musée National de Céramique.
Ref. Benoit (1971: pl. xvii, fig. 21c); Anthony Rowland-Jones (pers. comm., 2007).
A Hotteterre-style alto recorder is played by a young man, left hand lowermost.
Jeanne Norman Chase
Contemporary American (US) etcher, painter, printmaker
working in California. Web
Page
-
Flute Player, woodblock print on
paper, Jeanne Norman Chase (contemporary). Ref. flautotraverso.it An
edition of 30 prints were made. A young girl plays a
stylised cylindrical recorder, the little finger of her
lowermost (right) hand clearly positioned to cover its
hole.
Chelsea Manufactory – see also Joseph Willems
(1715-1766)
-
Shepherd (ca 1752), ceramic figurine, 16.51 cm,
Chelsea Manufactory, England. Boston: Museum of Fine
Arts, 1988.647. A shepherd boy leans against a tree stump
at left rear, with a spotted dog lying on an irregular
base with applied flowers. He wears a turquoise hat and
breeches, white coat with ruffs at neck and wrists, gold
button, and black shoes with gold buckles. He plays a
perfectly depicted baroque recorder, though the foot has
broken off.
Daniel Nikolaus Chodowiecki
Polish-German painter, draughtsman and engraver, he was particularly prolific as a book illustrator and executed an enormous number of etchings and drawings, many of which, apart from their technical skill, are valuable as social documents; he became Director of the Akademie der bildenden Künste in Berlin in 1797; born Danzig (1726), died Berlin (1801).
- [Various Musical Instruments] (1780), Daniel Nikolaus Chodowiecki (1726-1801).
Ref. Website: Will Kimball (2009), Trombone History Timeline.
Depicts a number of other musical instruments, including flute and recorder. The scale of the individual instruments is not realistic. Presumably a book illustration.
Joseph Christian (18th century), German
-
The Nativity with the Adoration of the Shepherds
(1744-1748), gilded limewood relief, Joseph Christian.
Zwiefalten (Swabia): Cathedral, back panels of stalls on
both sides of the choir. Ref. Rowland-Jones (2000a:
11-12, fig. 1-4) -b&w; Rowland-Jones (2000b:
fig.-b&w). "Three shepherds are arriving, and others
have already placed their gifts before the crib. The two
shepherds at the left bring a trombone and a bass
recorder – unlikely instruments for simple
shepherds to make, but full of portent. For both
trombones and recorders are associated with death . . .
two shepherds' pipes, possibly modeled by the artist on
descant recorders, placed immediately at the foot of the
crib, one upon the other, in the form of a cross"
(Rowland-Jones 2000a, loc. cit.)
"Shepherds have little to give the Infant Jesus – a
lamb, their crook, or a pipe (their music) which are
their identifying attributes, signifying they are
offering themselves to Christ. But the gifts have a
secondary symbolism – its feet tied, the Paschal
Lamb; and instruments associated with death –
recorders and trombone. Closest of all to the crib, two
shepherd's pipes are placed in the form of a cross"
(Rowland-Jones 2000b, loc. cit.)
Joseph Christophe (1661-1748) – see Charles Le Brun (1619-1690)
Petrus Christus [or Cristus or Christophorus]
Flemish painter who became the leading painter in Bruges
after the death of Jan van Eyck in 1441, and thus kept the
late Gothic style alive in the Netherlands; born Baerle-Duc
[now Baarle-Hertog] (ca 1410), died Bruges (1475-1476).
-
The Virgin of Grenada, wood, 77 × 525 cm,
Petrus Christus [or Cristus or Christophorus] (fl. ca
1442-1473). Barcelona: Collection Miguel Maten. Ref.
Paris RIdIM (1999). The Virgin and Child sit beside a
road winding through the countryside with an extensive
fortified wall. On either side angel musicians play a
lute and a long, cylindrical flared-bell recorder. The
bell has a little decorative turning, the window/labium
and the disposition of the fingers are clearly shown.
Kristen Cicilova
Comtemporary USAmerican graphic designer and illustrator
studying at the Boston School of Arts; she is engaged in
various projects for non-profit organisations. Artist's
web-site.
-
Music of Spring, pen, watercolour, pencil and
pastel on paper, Kristen Cicilova (contemporary). Ref.
American Recorder (2007: cover - col.) A
neo-baroque recorder sprouts branches in which birds nest
and beneath which they feed.
Conte Carlo Cignani
Italian painter and draughtsman who bore the title of
Conte and, it was said, 'always worked for glory, not for
need’; the leading master in Bologna during the later
decades of the 17th century; the gentle manner and
reflective, intimate mood of his work marks a break with the
more energetic style of earlier Bolognese classicism; born
Bologna (1628), died Forlì (1719).
-
Personification of Painting and
Sculpture, oil on canvas, 97.2 × 74.9 cm,
Carlo Cignani (1628-1719). New York: Sotheby's, Old Maser
Paintings, 14 January 1994, Lot 205 (Artifact 2003), Item
114 (Gabrius Data Bank (2002). Ref. Rijksbureau voor
Kunsthistorische Documentatie (2001); Anthony
Rowland-Jones (pers. comm., 2001); Gabrius Data Bank
(2002 - col.); Artfact (2003). A putto holding a laurel
wreath and a flared-bell recorder crowns a female
personification of painting and sculpture who holds an
artist's palatte in one hand and a pair of dividers in
the other which rests on the pate of a marble bust. The
recorder's bell is exceptionally wide; the beak can just
be seen beneath the putto's hand, and seven finger-holes
are clearly visible, the lowermost slightly offset.
-
Shepherd and Shepherdess, Carlo
Cignani (1628-1719). St Petersburg: Hermitage. A shepherd
plays his recorder to a shepherdess whose two children
gambol over a sheep sitting in her lap. The recorder, a
slender, flared-bell alto-sized instrument, is
beautifully depicted, the beak, window/labium and several
finger-holes clearly visible, , including one of the
paired holes for the lowermost finger.
Lodovico Cigoli [Lodovico Cardi; il Cigoli]
Italian painter, draughtsman, architect and
scenographer; one of the most influential artists in
17th-century who introduced a new clarity and naturalism
which led to the distinctively Florentine baroque style; born
Castello di Cigoli, near San Miniato (1559), died Rome
(1613).
-
Adoration of the Shepherds (ca 1601-1602), oil on
canvas, 98.5 × 61 cm, Lodovico Cigoli (1559-1613).
Hartford: Wadsworth Atheneum. Ref. Zafran (2004: 54-55,
pl. - col.) At centre-right a shepherd boy with puffed
cheeks lays a small cylindrical duct-flute, and an old
bearded shepherd next to him holds a lamb with its legs
tied, a basket of eggs beside him – all symbolic
details. The window/labium of the pipe is clearly
depicted, and the young lad plays with all fingers down,
except finger 6, with the right hand uppermost. The
little finger of the lowermost (left) hand appears to be
in a hole-covering position, but higher up, although the
fingers are down, two finger-holes are fully visible
under the right hand and one partly under the left-hand.
Cima da Conegliano [Giovanni Battista]
Italian painter, named after the town of his birth;
known for his quiet devotional scenes, often in landsape
settings, in the manner of Giovanni Bellini; sometimes called
'the poor man's Bellini', but because of his calm and weighty
figures he was also known in the 18th century as 'the
Venetian Mascaccio'; born Conegliano (ca 1459), died
?Conegliano (1517/18).
-
Nativity, Cima da Conegliano (ca 1459-1517/18).
Venice: Chiesa dei Carmine. Ref. Anthony Rowland-Jones
(pers. comm., 2000); Angelo Zaniol (pers. comm., 2003). A
particularly beautiful painting depicting the Holy Family
with shepherds and Saints paying homage to the
Christ-Child in his wicker crib in the foreground. In the
background is a landscape with mountains, a castle, a
shepherd and a child with a dog and sheep. The shepherd
plays a slender, cylindrical tenor-size duct-flute left
hand lowermost, window/labium clear, and two finger-holes
below the lower hand. The child sleeps at his feet on the
grass with a similar instrument of alto-size (with a
flange at the bell-end) under his hand.
Michelangelo Cinganelli (1580-ca 1635), Italian
-
Angel Musicians, fresco, Michelangelo Cinganelli
(1580-ca 1635) Florence: Casa Buonarroti. Camera degli
Angioli (via Gibellina 70). Ref. Paolo Biordi (pers.
comm., 2000). Four angel musicians sing and play viol,
tambourine and a flared-bell pipe of alto size. The
latter is held almost horizontally and the upper part is
hidden behind the neck of the viol; however, all fingers
of the lowermost right hand seem to be covering their
holes, and the flared bell is characteristic of the
recorder rather than a flute.
Antonio Ciocci [Cioci] (op. 1722-ca 1792), Italian
-
Still-life, oil on canvas, 65.5
× 102.8 cm, circle of Antonio Ciocci (op. 1722-ca
1792). Location unknown: sold Christie's London, 11
December 1992, lot 428. Ref. Sale catalogue (1992: 66,
fig. 72); Paris RIdIM (2000); Gabrius Data Bank (2001 -
col.) On a tapestry-covered table are a bowl of
carnations, an oil painting, an engraving, an open music
book, sheets of music, papers, a violin, a guitar (face
down) and a cylindrical alto recorder, the foot hidden
behind the guitar. Auctioned 11 Dec. 1992, sold; 23 May
1997, unsold (Gabrius, loc. cit.)
Giacomo-Francesco Cipper (or Zippa), called 'Il Todeschino'
[or 'Todeschini']
Austrian-born artist active in Italy; celebrated for his
paintings of scenes from everyday life; born Feldkirch or
Bregenz (?1664), died Milan (1736).
-
The Duet, Giacomo-Francesco Cipper (?1664-1736).
Bremen: Kunsthalle. Ref. Archiv Moeck; Munich RIdIM
(1999: BMkh 21). A man holds a flared-bell alto recorder
of tenor size; his companion holds a bassoon and a piece
of music; a dog and a young boy look on expectantly.
-
Musicians, canvas, 115 × 95 cm ,
Giacomo-Francesco Cipper (?1664-1736). Florence: Antique
Dealer "Florentia", Bellini et Berti. Ref. Paris RIdIM
(1999). A man playing a baroque oboe accompanies his wife
who sings from a sheet of music beating time with another
furled in her hand and gazing heavenward. Both seem
oblivious of the small child at their feet who blasts
away on an alto flared-bell recorder grasped in one hand.
-
The Recorder Player, Giacomo-Francesco Cipper
(?1664-1736). Venice: Academy, Inv. 856. Ref. Paris RIdIM
(1999); Website: klassiskgitar.net (2007 - col.); Website: Instituto Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0028292.
An old man holds an alto flared-bell recorder which he is about to play from a music book open on the
table in front of him. In the foreground, a cittern leans
against the wall; behind him an old woman and a young man
sing from a sheet of music.
-
Players at Mora, Giacomo-Francesco Cipper
(?1664-1736). Madrid: Prado. Ref. Anthony Rowland-Jones
(pers. comm., 2001). Mora is a game originating in Spain,
involving clapping and punching. Oil on canvas. A single
musician plays a perfect alto size recorder, with all
details clear and fingers well placed (right hand lower).
This is a hand fluyt type of instrument, with bell
flare after a slight contraction in the exterior shape.
-
Market Scene (ca 1670-1738), 120 × 155 cm,
Giacomo-Francesco Cipper (?1664-1736). Detail.
Location unknown: sold Sotheby's, London, 24 February 1971. Ref. Sale
catalogue (February/March 1971); Paris RIdIM (2000). A
group of peasants are gathered at a market. A young man
has a basket of fish; a young woman weighs out some
?cherries taken from a basket in front of her which also
contains some asparagus. Behind them a young woman offers
a coin in payment for the ?cherries, whilst two beggars
beg from her. In this distance a young boy plays a
cylindrical pipe, probably an alto-sized duct-flute
(flageolet or recorder).
-
Musical Pair with a Singing
Bird, oil on canvas, 92 × 70 cm, attributed
to Giacomo-Francesco Cipper (?1664-1736). Location
unknown: formerly Private Collection, Europe; offered for
sale by Dorotheum, Vienna, Lot 5, 22 March 2001 (unsold).
Ref. Paris RIdIM (2000); Sale Catalogue: Dorotheum,
Vienna (22 March 2001 - col.); Gabrius Data Bank (2002 -
col.) A woman sitting at a table sings from a manuscript
held in her left hand, a second page held in her right
from which a bird standing on the table appears to be
reading his own part! A third manuscript page lies curled
up on the table. To her right a young man in a
three-cornered hat plays a slender flared-bell one-piece
alto recorder, apparently from the same part as the bird!
-
A Peasant Man playing a Recorder at
Table, oil on canvas, 77.5 × 67.3 cm,
follower of Giacomo-Francesco Cipper (?1664-1736).
Location unknown. Ref. Sale catalogue; Paris RIdIM
(2000); Ref. Gabrius Data Bank (2002 - b&w.) A
middled-aged man with sad eyes sits at a table playing a
flared-bell duct-flute of soprano/alto size. However, his
lower-most little finger supports the instrument from
underneath, so this may represent a flageolet rather than
a recorder.
-
A Pair of Musicians, oil on canvas, 109 × 92
cm, follower of Giacomo-Francesco Cipper (?1664-1736).
Location unknown. Ref. Sale catalogue; Paris RIdIM
(2000). A bearded man (wearing a wreath of leaves) plays
a flared-bell alto-sized recorder with a wave-profile
head. A woman (wearing a sort of turban) beside him holds
a sheet of music from which he reads. On a table
immediately in front of them lie a violin and an open
book.
-
Cittern Player, oil on canvas,
96 × 132.5 cm, Giacomo-Francesco Cipper
(?1664-1736). Stockholm: Nationalmuseum, Inv.-Nr. NM 761.
An old man plays a diatonically fretted cittern. Behind
him the bells of two wind instruments can be seen: one
appears to be a shawm, the other a recorder, the last
four finger-holes of which are visible. On a table in
front of the player seven tortoises frolic –
perhaps the player keeps them to use their shells for
plectra!
-
A Peasant Man playing a
Recorder, oil on canvas, attributed to,
Giacomo-Francesco Cipper (?1664-1736). Location unknown.
Ref. Gabrius Data Bank (2002 - b&w.) A man in a cap
holds a crudely depicted recorder. Auctioned 22 February
1996, sold (Gabrius, loc. cit.)
-
Concerto Campestre, oil on
canvas, Giacomo-Francesco Cipper (?1664-1736). Location
unknown. Ref. Gabrius Data Bank (2002 - b&w.) A
smiling shepherd holds a flared-bell recorder of
alto-size whilst his shepherdess companon plays a Jew's
harp. A dog at their feet looks interestedly up at them.
In the foreground sits a young boy with his back with us;
it is unclear what occupies him. The recorder has a
sharply flared bell and the beak appears to be made of a
darker material than the body of the instrument.
Auctioned 5 December 1991, unsold; 15 October 1993,
unsold; 28 November 1995, sold (Gabrius, loc. cit.)
-
A Loving Couple with a Flute player, a
Little Girl, a Dog and a Still-life in a
Landscape, oil on canvas, Giacomo-Francesco
Cipper (?1664-1736). Location unknown. Ref. Gabrius Data
Bank (2002 - b&w.) A loving couple share a meal from
amongst the bread, fruit and wine on the table before
them. Beside them a young man holds a pipe (possibly a
recorder); at their feet are a dog and a little girl.
Auctioned 1 March 1994, sold (Gabrius, loc. cit.)
-
An Old Woman with a Mouse Trap, a Girl with Knitting
and a Peasant Boy with a Recorder in a Farmhouse, oil
on canvas, 148 × 118.8 cm, Giacomo Francesco Cipper
(1664-1736). London: Christie's, 16 December 1998, Lot
60. Ref. Artfact (2004). One of a pair of paintings
offered for sale, the other depicting a peasant woman
playing the hurdy-gurdy, a girl playing the dulcimer and
drinking, and a youth in a farmhouse. Another painting by
Cipper of these peasants with a mousetrap and a cat,
where the youth also holds a recorder is illustrated by
Proni (1994: 70, fig. 20). Not seen.
-
Musician, painting, Giacomo Francesco Cipper
(1664-1736). Location unknown: auctioned 3 December 2002
(unsold). [Possibly Sotheby's (Milan), Sale MI0206, Old
Master Paintings.] Ref. Gabrius Databank (2007 - col.) A
young man in a feathered cap holds an alto-sized,
slender, flared bell recorder right hand uppermost, the
window/labium clearly depicted.
-
Shepherd Recorder Player, oil on canvas, 75 × 60 cm, Giacomo Francesco Cipper
(1664-1736).
Ljubljana: Narodna Gallerija, Inv. S 982.
A young shepherd wearing a floppy hat plays a tenor-sized cylindrical recorder with a flared bell. The labium/window are clearly shown and five fingerholes are visible, including all four for the lowermost (left) hand.
- Peasant Banquet with Young Flute Player / Merry Family, oil on canvas, 144 × 114 cm, Giacomo Francesco Cipper (1664-1736).
Paris: Galerie Cannesso.
Ref. Exibition Catalogue: TEFAF, Maastrict, 7-16 March 2008 (col.); Apollo (March 2008: col.); Constance Scholten ex Anthony Rowland-Jones (pers. comm., 2008).
A young family are seated at a table on which is bread, a wedge of cheese and some walnuts. A man holding a stoneware jug points to his wife who smiles in our direction. A young girl seats in front of them eating soup from a bowl. Behind them is an old woman, and a young girl wearing a bonnet who plays a cylindrical, alto-sized recorder with a flared bell.
- Flute Player, engraving after an original attributed to Giacomo Francesco Cipper (1664-1736).
Location unknown.
Ref. Website: Instituto Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0028490.
The sheet is numbered 29 and the bears the name "J.A. Barkworth", possibly the engraver. A young man in shabby dress plays a one-piece tenor recorder with a flared bell.
- Flute Player with a Girl, attributed to Giacomo Francesco Cipper (1664-1736).
Location unknown.
Ref. Website: Instituto Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 002829.
A young lad plays a one-piece, tenor-sized recorder to a shepherdess in a straw hat.
Pieter Claesz. or Claese (also called Pieter Claexz. van
Haarlem)
Dutch painter who achieved a striking simplicity and
atmospheric quality in still-life representations, many of
which represent magnified sections of objects found
'accidentally' on the corner of a table, such as a knife, a
plate of fruit, a piece of cut cake, or even a gutted fish;
born in Burgsteinfurt, Westphalia (ca 1597/8), died Haarlem
(1661).
-
Still-life, oil on canvas, 49.5 × 65 cm,
Pieter Claesz (ca 1597/8-1661). Location unknown:
formerly Sweden: Private Collection; auctioned by
Phillips, London, 31 March 1992. Ref. Vroom (1980, 1: 27,
fig. 22); Griffioen (1988: 438-439); Weltkunst 6:
745 (1992 - col.) Scattered on a table are a book open at
pages headed Memento Mori, a candlestick and dying
candle, playing cards, a glass roemer, a watch, a
document with a seal, a human skull and thighbone, an
hourglass, books, a lute and a cylindrical recorder. The
body of the recorder is largely hidden by the book, but
the beak, window/labium, and two lower finger-holes can
be seen.
-
Still-life, 80 × 112 cm, Pieter Claesz (ca
1597/8-1661). Paris: Leegerhoek Collection. Ref. Vroom
(1980, I: 27, fig. 23); Griffioen (1988: 438-439). On a
table are littered a skull, books, fruit, cakes and other
food, a watch, a shell, an ornate chalice, drinking
glasses, music, a violin, and a soprano
hand-fluyt, the offset hole for the lowermost
finger clearly depicted..
-
Still-life with Musical
Instruments (1623), oil on canvas, 69 × 122
cm, Pieter Claesz (ca 1597/8-1661). Paris: Louvre. Ref.
Pincherlé (1959/1963: 83); Revue du Louvre
12: 180 (1962); Record Cover: Italian Virtuoso Music
for the Violoncello, Das Alte Werk (Telefunken), SAWT
9548 (1969 – col.); Paris RIdIM (1999): Web Gallery
of Art(2001); Rasmussen (2004, Lute). A table is littered
with items of food (including a partly sliced loaf of
bread and a tortoise, both on platters), a glass (seen in
a mirror), a watch, books, papers, a lute, and a cello.
The latter leans against a wall on which hang a violin,
cornett and a cylindrical duct-flute, almost certainly a
recorder (window/labium quite clear, and holes for six
fingers, the lowermost occluded by the cello and its
bow).
-
Vanitas:
A Corner of the Artist's Studio / Vanitas with
the Spinario (1628), oil on panel, 70.5 × 80.5 cm, Pieter
Claesz (ca 1597/8-1661). Amsterdam: Rijksmuseum,
SK-A-3930. Ref. Vroom (1980, I: 27, fig. 25); Montagu
(1976: 85, pl. XII – col.); Boydell (1982: 273, pl.
LV – b&w); Griffioen (1988: 438-439); Francone
et al. (1996: 29, fig. 16); Badiarov (2005: - col.) A
still-life with a draped table on which stands a statue
of a boy removing a thorn from his foot (a copy of a 12th
century much-lauded statue also much copied in the 17th
century), some books, a skull and cross-bones, an
artist's palette and brushes, a pocket watch, and a large
drinking glass. Scattered on the floor in the foreground
lie a steel breastplate, some books of drawings –
one open at a portrait of a female nude, a plume, a lute,
violin, bass crumhorn, and the foot of a pipe which
(given the double holes for the little finger of the
lowest hand) appears to be a near-cylindrical soprano
recorder.
-
Still-life (1653), oil on canvas, 150 × 200 cm, Pieter Claesz (ca 1597/8-1661).
Cologne: Wallraf-Richartz Museum 1505. Ref. Munich RIdIM
(1999: KNwr - 28). A table is covered in food of various
kinds – cruets, a wineglass, a jug, some flowers
– and musical instruments – a cello, a violin
and two very small flared-bell duct-flutes, close
together and slightly obscured, one of which has seven
finger-holes and thus probably represents a recorder.
Notes (in part) by Anthony Rowland-Jones (pers. comm.,
1999).
-
Still-life, Pieter Claesz (ca 1597-1661). Paris:
Collection Don Friedrich Unger. Ref. Rijksbureau voor
Kunsthistorische Documentatie 544 (2001); Anthony
Rowland-Jones (pers. comm., 2001). A still life with
musical instruments, smoking equipment and an ? animal
skin. The musical instruments include a recorder.
-
Vanitas, Pieter Claesz (ca 1597-1661). The Hague:
S. Nystad (dealer). Ref. Rijksbureau voor
Kunsthistorische Documentatie 553 (2001); Anthony
Rowland-Jones (pers. comm., 2001). A still-life which
includes a copy of the classical sculpture of a boy
pulling a thorn out of his foot, one of many such
depictions of the original in the British Museum. A
recorder rests with its bell end on the arm of a chair,
its head on a table.
-
Still-life, Pieter Claesz (ca 1597-1661). London:
Richard Green (private collection). Ref. Rijksbureau voor
Kunsthistorische Documentatie 17937 (2001); Anthony
Rowland-Jones (pers. comm., 2001). Still-life with
musical instruments, an open music-book, a silver
saltshaker, pewter plates and dishes, wine-glasses, a
loaf, notes, and an upside-down crab in a dish; also an
alto hand fluyt, the head obscured but five
finger-holes of which can be seen, including paired holes
for the lowermost little finger.
-
A Man and a Woman on Horseback in a Ford, black
chalk, 15.5 × 14.1 cm, Nicolas Berchem (1620-1683)
after Pieter Claesz (ca 1597-1661). Paris: Louvre, Print
Collection, Inv. 22468. Ref. Paris RIdIM (1999). A man
and a woman, both on horseback, pause in the middle of a
river while their dog struggles valiantly shorewards. She
sings from a manuscript; he accompanies on a slender,
flared-bell pipe (possibly a duct-flute, perhaps a
recorder).
- Vanitas Still-life, oil on panel, 50 × 68.5 cm, follower of Pieter Claesz (ca 1597-1661).
Location unknown: Sotheby's (London), Sale, 20.10.2005, Lot 42.
Ref. Vroom (1980: 21, fig. 22 - as by Pieter Claesz); Constance Scholten (pers. comm., 2009).
On a table covered with a cloth is a jumble of vanitas objects including a candlestick with gutting candle, playing cards, a watch, an hourglass, a globe, the upper part of a human skull, a shell, a document, books (one open), an upturned goblet, a lute and a long, slender ?tenor recorder with a flared bell, the window/labium and three finger holes visible.
Jacques de Claeuw [Jacques Grief]
Dutch artist; born Dordrecht (ca 1620), died after 1694.
-
Still-life with Violin (1641), 21.5 × 28 cm,
Jacques de Claeuw (ca 1620 - p. 1694). Private
collection. Ref. Haak (1984/1996: 437, fig. 959); Bol
(1969: 97, pl. 82l); Griffioen (1988: 438-439). On a
draped table are the upper part of a skull, a letter, a
violin a candlestick, and a renaissance-style
soprano/alto recorder, possibly with a metal-sheathed
beak, the foot hidden behind the skull.
-
Vanitas, Jacques de Claeuw (ca 1620-1694).
Jacksonville, Florida: Cummer Gallery of Art. Ref. Nash
(1972: pl. 152). A violin, a shawm, playing cards, a
painter's palette, a globe, books, papers, hourglass,
bell, and flowers, etc. lie tumbled in glorious disarray
on a table. A small pipe (possibly a recorder) leans up
against one of the books.
-
Vanitas, Jacques de Claeuw (ca 1620-1694). Berlin:
Gemäldegalerie. Ref. Munich RIdIM (1999: Bgd 26).
Partly hidden by a book and a violin is an alto recorder
with a metal (? brass) protective sleeve.
-
Vanitas, Jacques de Claeuw (ca
1620 - p. 1694). Location unknown: formerly New York:
Otto Naumann; sold Johnny Van Haeften, London (2006).
Ref. Gabrius Data Bank (2001 - col.); Debra Pring (pers.
commm., 2006). On a table covered in a dark cloth are
scattered a globe, flowers, books, a skull, a letter,
music, a violin and a renaissance-style recorder with a
brass sheathed beak, the head and body with three
finger-holes visible.
-
Vanitas, oil on panel, 37
× 47 cm, Jacques de Claeuw (ca 1620 - p. 1694).
Ref. Gabrius Data Bank (2002 - b&w.) A chipped giant
roemer on a document leans against a row of books, with a
skull, a ? rebec, a clay pipe, an extinguished candle and
a flared-bell recorder with the beak, window/labium and
all finger-holes clearly visible (including the lowermost
offset).
-
Vanitas, Jacques de Claeuw (ca 1620 - p. 1694).
Ref. Gabrius Data Bank (2002 - b&w.) Location unknown.
On a stone shelf lie a violin, a candle standing in a small frying pan, the upper part of a skull, a soprano sized flared-bell recorder, and an open book of music. The recorder's beak and windway, window/labium, and finger-holes are all clearly depicted.
-
Vanitas, oil on canvas, 42 × 54 cm,
follower of Jacques de Claeuw (ca 1620 - p. 1694).
Location unknown: auctioned Sotheby's (London), Sale
W0517, Old Master Paintings, 05 July 2005, Lot 492
(unsold). Ref. Sotheby's Catalogue, Sale W0517 (2005: Lot
492 - col.); Gabrius Data Bank (2007 - col.) A skull,
candle, hourglass, pipe, shell, stalks of wheat, sheet of
music, and a pipe with a flared bell on a wooden table
draped with green velvet with bubbles above. Only the
foot and lower section of the pipe with five finger-holes
are visible; its holes are all in line. It may represent
the chanter of a bagpipe rather than a recorder.
Jaques Claramunt (contemporary)
-
Der Flötenspieler, bronze statue, Jaques
Claramunt (contemporary). Ref. Windkanal 1-97:
cover (1997 – col.) A young man sits on the ground
and plays a long, cylindrical recorder. Used as an
advertising insignia by Mollenhauer.
Greg Clarke
Contemporary US book, magazine and comic illustrator who
works in watercolor or oils to create sophisticated
characters in humorous yet heartfelt situations.
- Cover: American Recorder 39(3):
Pan Playing (1994), Greg Clarke (contemporary). Pan
plays a baroque recorder amongst a hilly landscape, his
syrinx abandoned on the ground behind him.
Claude Gellée (Gellee or Gillee) [called Claude
Lorrain(e), or Le Lorrain(e)]
French painter, draughtsman and etcher, active in Rome;
best known for, and one of the greatest masters of,
ideal-landscape painting, an art form that seeks to present a
view of nature more beautiful and harmonious than nature
itself; his distinctive contribution to the ideal-landscape
genre was to use light as the principal means both of
unifying the composition and of lending beauty to the
landscape; he was also able to introduce into the artificial
formula, to an unusual degree, effects studied from nature;
born Chamagne near Mirecourt, Lorraine(1600), died Rome
(1682).
-
Pastoral Landscape with Piping Shepherd (ca 1635),
Claude Gellée, 'Le Lorrain' (1600-1682). Nancy:
Museum of Fine Arts. A shepherd plays an ambiguous pipe
(possibly a recorder) with an unused offset hole for the
little finger of the lowermost hand. There is a slight
bell flare, but the instrument appears outwardly conical.
Notes by Anthony Rowland-Jones (pers. comm., 1999).
-
Italian Landscape at Dawn (1642), canvas, 97
× 131 cm, Claude Gellée, 'Le Lorrain'
(1600-1682). Berlin: Gemäldegalerie, No. 448B. Ref.
Staatliche Museen Preussischer Kulturbesitz (1968: 32);
Bock, H. et al. (1986: 360-361, fig. - col.); Anthony
Rowland-Jones (pers.comm., 2001) A woman dressed as a
shepherdess sits on a rock listening to a shepherd
playing a flared-bell pipe (recorder or shawm).
-
Apollo and Mercury (1677), pen drawing and wash,
Claude Gellée, 'Le Lorrain' (1600-1682). Berlin:
Staatliche Museen Preußischer Kulturbesitz,
Kupferstichkabinett. Apollo, required to guard a herd of
cows (the flocks of Admetus), has an ambiguous pipe in
his hand of which only the markedly flared bell end is
visible. In a variant of this in Holkham Hall Apollo
plays a viola da braccio. Notes by Anthony Rowland-Jones
(pers. comm., 1999).
-
Apollo and Mercury (1677),
medium brown and grey ink and wash on paper, Claude
Gellée, 'Le Lorrain' (1600-1682). Location:
Private Collection. Ref. Bridgeman Art Library (2003:
Image AGN 95222 - col.) Sitting by a stream, Apollo,
required to guard a herd of cows (the flocks of Admetus),
plays a slender pipe (very much like a recorder) with a
slightly flared bell. In the background Mercury is
stealing the cattle. There are very few pictures of
Apollo, the slayer of Marsyas, descending to such depths,
even disguised as a shepherd!
-
River Landscape with a Goatherd piping
(1635-1636), oil on canvas, 38 × 49 cm, Claude
Gellée,'Le Lorrain' (1600-1682). Oxford: Ashmolean
Museum A969. Ref. Roethlisberger (1961: no. 215). Seated
amongst his animals beside a river amidst a luxuriant
wooded landscape a goatherd play a small flared-bell
recorder, right-hand down, the hole for the little finger
of the lowermost hand clearly visible. This work has
close affinity with a landscape in the Metropolitan
Museum, New York, signed and dated 1636.
-
Youth playing a Pipe in a pastoral Landscape
(1640s), black chalk with pen, brown ink & pale brown
wash on pale beige paper, 182 × 238 cm, Claude
Gellée, 'Le Lorrain' (1600-1682). Oxford:
Ashmolean Museum, WA1855.65. Ref. Whiteley (2000: 238);
Parker I (1938: 424). Seated with his animals beside a
river amidst a lightly wooded landscape a shepherd plays
his pipe.
-
Landscape with Mercury and Argus, drawing, Claude
Gellée, 'Le Lorrain' (1600-1682). London: British
Museum, Malcolm Collection. Ref. Royalton-Kisch et al.
(1996: 113, pl. 55); Rowland-Jones (2008b: 17, fig. 7).
Mercury lulls Argus to sleep by playing on a narrow flared-bell pipe
(shawm or duct-flute, possibly a recorder).
-
Landscape with Mercury and Argus, 57.5 ×
73.8 cm, Claude Gellée, 'Le Lorrain' (1600-1682).
Location unknown: Offered for sale by Sothebys, London,
27 March 1974. Ref. Paris RIdIM (1999). Beside a temple
in front of a small pond, surrounded by sheep, goats and
cows, and watched by Io (whom Jupiter has turned into a
white heiffer), Mercury lulls Argus to sleep by playing
on a narrow flared-bell pipe (shawm or duct-flute,
possibly a recorder).
-
Mercury and Argus (1662),
Claude Gellée, 'Le Lorrain' (1600-1682). Ann
Arbor: The University of Michigan Museum of Art,
Accession No. 1949/1.150. Ref. Website: The University of
Michigan Museum of Art. Before a temple in front of a
stream beside which cattle graze, and watched by Io (whom
Jupiter has turned into a white heiffer), Mercury lulls
Argus to sleep by playing on a narrow flared-bell pipe
(shawm or duct-flute, possibly a recorder). Mercury, as a shepherd in disguise, has discarded his winged sandals (and his sleep-inducing caduceus), but not the winged petasus on his head. A dagger can be seen behind Mercury in readiness to turn sleep into death. Lully tells the story memorably in Isis (1677).
- Mercury and Argus (1662), drawing, Claude Gellée, 'Le Lorrain' (1600-1682).
Ann Arbor: University of Michigan Museum of Art.
Ref. Rowland-Jones (2009: 244, fig. 11 - detail).
On the edge of a glade, watched by Io (whom Jupiter has turned into a white heiffer), Argus falls asleep as Mercury pipes on a slender flared-bell pipe (possibly a recorder). Cattle graze in the distance. Mercury, as a shepherd in disguise, has discarded his winged sandals (and his sleep-inducing caduceus), but not the winged petasus on his head; his dagger lies behind him. This is much finer work than the above.
- Mercury and Argus (1802-1810), mezzotint and etching on wove paper, 22.2 × 30.5 cm, Richard Earlom (British, 1743-1822) after Claude Gellée, 'Le Lorrain' (1600-1682).
New York: Great Modern Pictures, Romantic Affinities, Rare and Important Original Antique Prints 1775-1850, Item 19 (2009).
(2009).
Ref. Liber Veritatis Or, A Collection of Two Hundred Prints … Executed by Richard Earlom (1802-1810), published by John Boydell, Cheapside.
On the edge of a glade, watched by Io (whom Jupiter has turned into a white heiffer), Argus falls asleep as Mercury pipes on a slender flared-bell pipe (possibly a recorder). Cattle graze in the distance. Mercury, as a shepherd in disguise, has discarded his winged sandals (and his sleep-inducing caduceus), but not the winged petasus on his head; his dagger lies behind him. The original drawing by Claude is in the University of Michigan Museum of Art, New York (see above).
-
Landscape with the Metamorphosis of the Shepherd Apulo
(? Apulius), Claude Gellée, 'Le Lorrain'
(1600-1682). Merton: Duke of Sutherland's Collection. At
the right are a tambourine, flute (with a flared bell as
in other Claude pictures), double pipe/aulos ; on the
left is a soprano duct-flute (possibly a recorder) and a
small frame drum. Notes by Anthony Rowland-Jones (pers.
comm., 1999).
-
View of Delphi with a Procession, Claude
Gellée, 'Le Lorrain' (1600-1682). Rome: Galleria
Doria Pamphili, Cat. i32. Ref. Postcard: Galleria Doria
Pamphili (2002 - col.); Anthony Rowland-Jones (pers.
comm., 2002). In the foreground a shepherd sits on a
parapet at the end of a bridge with a pipe. There is a
slight bell flare, but the instrument appears outwardly
conical. A copy by Claude of an original now in the
National Gallery, London. Notes by Anthony Rowland-Jones
(pers. comm., 1999).
-
Landscape with Satyrs and Dancing Nymphs, Claude
Gellée, 'Le Lorrain' (1600-1682). Switzerland:
Private Collection. A seated nymph plays a pipe with a
flared bell. Two of the satyrs in the musical group could
be playing duct-flutes (flageolets or recorders). Notes
by Anthony Rowland-Jones (pers. comm., 1999).
-
Landscape with the Temple of the Sybil at Tivoli,
Claude Gellée, 'Le Lorrain' (1600-1682).
Melbourne: Art Gallery of Victoria. A cow herd seated
with a girl on the left plays a pipe (possibly a
duct-flute). The lowermost (left) hand is in the correct
position for playing a recorder; the mouth piece is
beaked; and there is a sudden sharp bell flare. Notes by
Anthony Rowland-Jones (pers. comm., 1999).
-
Landscape with the Rest on the Flight
to Egypt (1647), Oil on canvas, 102 x 134 cm
Claude Gellée, 'Le Lorrain' (1600-1682). Dresden:
Gemäldegalerie. Ref. Anthony Rowland-Jones (pers.
comm. 1999); Rowland-Jones (1999d: 125, fig. 5 –
b&w); Web Gallery of Art (2001). At the edge of a
forest, on a bank beside a pool at the side of a river, a
shepherd plays a cylindrical pipe (probably a duct-flute
since all but the third finger of the lowermost (right)
hand cover their holes) to a young woman who sits leaning
wearily on her staff, a basket beside her. A young woman
fills a pitcher with water from a culvert. Two cows drink
from the pool. Rowland-Jones (1999d) suggests that the
young man "is entirely occuped in playing his pipe to a
seated shepherdess." Behind, in the shadows amongst the
trees is the Holy Family with the Virgin and Child on a
donkey led by an angel.
-
Shepherd teaching a Shepherdess the Use of the
Pipe, drawing, Claude Gellée, 'Le Lorrain'
(1600-1682). London: British Museum, H. 213. Ref. Warburg
Institute, London. A young woman practices on a
flared-bell duct-flute (flageolet or recorder) under the
instruction of a young shepherd who sits beside her
beneath a tree.
-
Le Bouvier [The Herdsman], Claude
Gellée, 'Le Lorrain' (1600-1682). Ref. Website:
The University of Michigan Museum of Art, Accession No.
1949/1.149. A herdsman sits on a bank playing an
ambiguous pipe to cattle grazing a pasture before a
house.
-
Dawn, Claude Gellée, 'Le Lorrain'
(1600-1682). Turin: Pinacoteca Nazionale. Ref. Daudy
(1967); Liesbeth van der Sluis (pers. comm., 2001).
Amidst a landscape around an ocean bay, with one big tree
and flat red soil a goatherd plays a long duct-flute
(possibly a recorder), sitting on a stone (van der Sluis,
loc. cit.)
-
Italian Landscape (1648), oil on canvas, Claude
Gellée, 'Le Lorrain' (1600-1682). St Petersberg:
Hermitage. Ref. Exhibition, French Drawings and
Paintings from the Hermitage: Poussin to Picasso,
Hermitage Rooms, Somserset House London (2001-2002);
Anthony Rowland-Jones (pers. comm., 2001). "At the bottom
right of this medium-sized canvas there is a group of
three figures, being a cowherd with a staff (and cows)
and two seated girls. The cowherd is instructing one of
the girls in playing a tenor-sized 'pipe' (so described
in the wall caption). She has both hands on, left hand
uppermost, in good recorder-playing position. No details
of the instrument are visible, but it is mainly
cylindrical with only a slight bell flare"
(Rowland-Jones, loc. cit.)
-
A Shepherd Playing the Flute, A Shepherdess and Two
Goats On Rocks, drawing, Claude Gellée,
'Le Lorrain' (1600-1682). Location unknown: auctioned 11
April 2002 (sold). Ref. Gabrius Data Bank (2002 - col.) A
shepherd wearing a wreath plays a flared-bell pipe
(possibly a recorder) to a shepherdess. They and their
two goats are seated on rocks.
-
The Landing of Aeneas (1675), Claude
Gellée, 'Le Lorrain' (1600-1682). Lode,
Cambridgeshire: Anglesey Abbey (Collection of Lord
Fairhaven), Lower Gallery. Ref. Anthony Rowland-Jones
(pers. comm., 2003). The painting is the one on the
right-hand side in the above photograph. A pastoral scene
with a lake and classical ruins. Beneath the ruins on the
left of the painting is Aeneas. At the bottom right are a
seated shepherd with a crook and a seated shepherdess in
a blue dress playing a small pipe. The latter is
cylindrical but with a slight bell flare, and all fingers
of both hands touch the instrument so no holes are
visible, nor is the window/labium as the detail is too
small to show one. It is not impossible that Claude might
have intended this to represent a recorder.
-
Pastoral Landscape (164[5?]), Claude
Gellée, 'Le Lorrain' (1600-1682). Birmingham:
Barber Institute of Fine Arts. Ref. Anthony Rowland-Jones
(pers. comm., 2004). Claude also made a drawing from this
composition in his Liber Vertitatis (British
Museum, No. 93). The usual misty lights with distant
mountains and a town with a castle. In the middle ground
is a bridge over water which feeds a lake beyond the
meadows where a cow and goats graze, looked after by a
standing shepherdess in a red dress. Another seated
shepherdess in a blue dress sits playing a pipe, taught
by a kneeling shepherd. The pipe is of alto size, its
beaked end just touching her lips (but no sign of a
window/labium). It is almost cylindrecial with a very
slight outward conicity to a more strongly flared bell.
All the players fingers are on with the uppermost
(left-hand) little finger supporting the side of the
pipe, and the lowermost (right-hand) little finger in the
offset hole position, immediately below which is an
incised decorative ring before the start of the flare.
Her wrists are in excellent recorder-playing position.
The group is by a tree at the left of the landscape. This
work was painted for the Marquis de Fourenay, French
Ambassador in Rome.
-
Liber Veritatis: Pastoral Landscape (164[5?]),
acquatint in sepia, Claude Gellée, 'Le Lorrain'
(1600-1682). London: British Museum, No. 93. Ref. Anthony
Rowland-Jones (pers. comm., 2004). A drawing from
Claude's painting, Pastoral Landscape (Barber
Institute of Fine Arts, Birmingham).
- Landscape with Peasants and Cattle (1776), mezzotint and etching on wove paper, 20.6 × 25.9 cm , Richard Earlom (British, 1743-1822) after Claude Gellée, 'Le Lorrain' (1600-1682).
Ref. Liber Veritatis Or, A Collection of Two Hundred Prints … Executed by Richard Earlom (1802-1810: pl. 121), published by John Boydell, Cheapside.
Ann Arbor: The University of Michigan Museum of Art, Accession No. 1930/19.
Ref. Website: The University of Michigan Museum of Art.
In the foreground a shepherd seated beside a stream plays a cylindrical pipe to a shepherdess who stands beside him. In the midground cattle graze. In the distance are ruins.
-
Pastoral Landscape with Lake Albano and Castel
Gondolfo, Claude Gellée, 'Le Lorrain'
(1600-1682). Cambridge: Fitzwilliam Museum. Ref.
Rowland-Jones (2005: 36-37 & ill. 6 - b&w).
Castel Gandolfo was the Pope's country residence. Two
shepherds and a shepherdess stand listening two a seated
shepherd and shepherdess playing flute and what is
probably a recorder respectively. It is said that Claude
showed the instruments more clearly than usual because
the paointing was for a music lover, Pope Urban VIII.
- Unknown, engraving by John Boydell (1774)
after Claude Gellée, 'Le Lorrain' (1600-1682).
Cambridge: Garden House, corridor between pool and bar.
Ref. Anthony Rowland-Jones (pers. comm., 2002). One of two
copies of engravings after original drawings owned by the
Duke of Devonshire rather than originals, dated 1774. A
group of five figures at centre lower right, with sheep and
cows on a neighbouring bluff overlooking a lake in a hollow
with steep cliffs around it. A shepherd and two
shepherdesses stand idly in their usual way, but two seated
shepherdesses with them have pipes. The first holds hers in
one hand, not playing, but looking at the other; her
instrument has a very marked bell-flare – probably a
shawm. The other shepherdess plays her pipe (left hand
lowermost) which is only slightly outwardly conical with a
slender mouthpiece, in fact almost cylindrical until a
slight bell-flare. Between the bell end and her lower hand
a hole, offset to the player's left, is clearly visible and
could be a little-finger offset hole. No other details are
visible. Claude is a rather careless delineator of his
shepherds' pipes, but it is just possible that a recorder
was in mind. Notes by Rowland-Jones (loc. cit.)
William J.M. Clayton
Contemporary British painter of still-lifes.
-
Still-life, Wiliam J.M. Clayton
(contemporary). Location unknown; formerly Greystoke Ghyll: Beckstones Art Gallery.
Ref. Website: Beckstones Art Gallery (2005 - col.) On a
table covered with a blue cloth are a glass of wine and a
bottle, a score of Beethoven waltzes, a bugle, a violin
and a soprano recorder of modern two-piece design. There
is a green drape in the background.
-
Still-life, Wiliam J.M. Clayton
(contemporary). Location unknown; formerly Greystoke Ghyll: Beckstones Art Gallery.
Ref. Advertisement, Beckstones Art Gallery (2005).
Hanging from a panel are a violin and bow and a music
score. On a small ledge below are a modern clarinet and a
soprano recorder of modern two-piece design.
Clement de Jonghe – See Paulus
Pieterz. Potter
Hendrick de Clerck
Flemish painter and draughtsman; court painter to the
governors of the southern Netherlands; born (?1570), died
Brussels (1630).
-
Adoration of the Shepherds, oil
on panel, Hendrick de Clerck (?1570-1630). Ref. Gabrius
Data Bank (2001 - col.) Winged putti (not just heads)
hover above. An angel points towards the Christ-child as
Mary draws back his cover and Joseph look on in wonder.
On either side, two of the shepherds kneel in adoration.
The shepherd on the left of the picture has a long staff
over his shoulder; beside his purse hanging from his belt
is what appears to be a small cylindrical duct-flute, the
window/labium is visible, although no finger-holes are
indicated. In the background, a shepherd hastens to the
scene. In the foreground, a dog sniffs at a sleeping
piglet. Auctioned 13 December 2000, sold (Gabrius, loc.
cit.)
-
Adoration of the Shepherds, oil
on panel, Hendrick de Clerck (?1570-1630). Ref. Gabrius
Data Bank (2001 - col.) Winged heads (without bodies)
hover above. An angel points towards the Christ-child as
Mary draws back his cover and Joseph look on in wonder.
On either side, two of the shepherds kneel in adoration.
The shepherd on the left of the picture has a long staff
over his shoulder; beside his purse hanging from his belt
is what appears to be a small cylindrical duct-flute, the
window/labium is visible, although no finger-holes are
indicated. In the background, a shepherd hastens to the
scene. In the foreground, a dog sniffs at a sleeping
piglet. Auctioned 12 March 1998, unsold (Gabrius, loc.
cit.)
Joos van (or Joos van (der Beke) Cleve (or Cleef)
Netherlandish artist dentified with Master of the Death
of the Virgin; born Antwerp (1480-1490), died 1540/1541.
-
The Nativity Shepherds, Joos van Cleve (1480/90-.
1540/41). Munich: Bayerische
Staatsgemäldersammlungen, 6667. Ref. Munich RIdIM
(1999: Mstag 136). Mary uncovers the Christ-child for his
admiring visitors who include three shepherds and a young
child. A bearded sheperd with a white hood (centre right)
holds a long cylindrical duct-flute (flageolet or
recorder) of which the window/labium and very pointed
beak are clear. Beneath his hand can be seen five large
finger-holes. There is a single incised ring at the foot
of the instrument. Notes by Anthony Rowland-Jones (pers.
comm., 1999).
-
Mystic Marriage of St Catherine (1514), Joos van
Cleve (1480/90-. 1540/41). Nancy: Musée de Beaux
Arts. Ref. Anthony Rowland-Jones (pers. comm., 2003). An
angel with huge pale blue wings at the centre plays a
long mainly cylindrical pipe with a gradual but then
quite marked bell falre. No window/labium is visible, but
the playing position and relaxed lips suggests a
duct-flute. The pipe is held right hand uppermost with
the little finger away from the instrument. Five
finger-holes are visible between the left and right
hands, one (or two) being under the right hand. The
little finger of the left hand appears to be covering a
hole. No other instruments are depicted in this picture,
so the pipe may be symbolic of heavenly marriage, in
which case it could well be a recorder.
Francis [Franz] Cleyn
German-born painter, designer, illustrator and
printmaker; named court painter by James I of England in
1624, and designer of the famous Mortalke tapestries, also
produced a small number of etchings; born Rostock,
Mecklenburg-Schwerin (1582), died London (1658).
-
Musica (1645), etching, Francis Cleyn (1582-1658).
New York: Public Library. Ref. Beck & Roth (1965: 26,
fig.) From a set of allegorical representations of the
Seven Liberal Arts. Muisca's places is shown by a trio of
performers: a young lady lutenist and a gentleman
fluatist accompanying a singing boy. They are surrounded
by instruments, including a curved cornett, shawm, violin
and a small ambiguous pipe lying on the floor; and a
harp, cittern, shawm, flute and recorder arranged in a
trophy on the wall. The recorder is very long and has a
widely flared bell. The window/labium is clearly
depicted.
John Closterman (also spelled Cloosterman, or Klosterman)
German portraitist who painted in Paris, England and at
the Spanish court; born Osnabrück, Germany (1656), died
London (1711); older brother .of John Baptist Closterman.
-
The Children of John Taylor of Bifrons Park
(?1696), oil on canvas, 18.98 × 27.18 cm), John
Closterman (1656-1711). London: National Portrait
Gallery, NPG 5320. Ref. Moeck (1983: May – col.);
Recorder & Music 7(4): front cover (1981);
Recorder & Music 13(1): front cover (1993).
In this great family portrait the Taylor family's motto 'Fame is sweeter than the white rose' is used here as an organising motif. The oldest child Mary, seated centrally, holding a cornucopia of flowers, extends a white rose to her brother Nathaniel. The toddler below Nathaniel is Bridges; he offers a rose to the youngest child, Upton, who is supported by his brother John. On the left side, Olive and Margaret crown their brother Brook with laurel. Brook (1685-1731), holds an elaborately turned baroque-style recorder with ivory mounts that symbolises family harmony. Two of his older sisters, Olive and Margaret (depicted as heraldic figures) hold a laurel wreath above his head. Although only 11 years old, Brook was already a virtuoso on the recorder. In later life he became a distinguished mathematician.
John Cluer
English engraver, printer and publisher who introduced
the use of engraving on pewter rather than copper plates;
died 1728.
- Title Page:Alexander, Handel (1726),
engraving, printed and sold by John Cluer (?-1728), London,
England London: British Museum; Paris: Bibiothèque
Nationale, Department of Music. Ref. Mirimonde (1974: 182,
pl. 142); Fraenkel (1968: pl. 153); Archiv Moeck; Paris
RIdIM (1999). A personification of Music, seated, plays the
harp. Above her are a trumpeting angel and putti; beside
her a putto sings from a part book. Various instruments are
littered about including an organ, timbrel, oboes, viol and
a turned baroque three-piece recorder. This is a pastiche:
the central figure of Music and the singing putto, and the
collection of instruments on the ground are from Mignard's
St Cecilia playing the Harp (1691). This design was
used again for the title page of Handel's Admeto
(1727).
Charles Nicolas Cochin, the younger
French engraving, lettering artist and illustrator; in
addition to creating independent drawings, he produced
numerous designs for paintings and sculptures, and
illustrated more than two hundred books; employed by an
agency of King Louis XV to create commemorative prints for
every birth, marriage, and funeral at court; later made
curator of the royal drawings collection, and given lodgings
in the Louvre; born Paris (1715), died Paris (1790).
-
Telemachus entertaining shepherds by playing the
flute (1773), drawing, 21 × 31.8 cm,
Charles Nicolas Cochin, the younger (1715-1790). Paris:
Musée du Louvre, Inv. RF 14881. Ref. Joconde
Website (2007 - col.) Telemachus was the son of Odysseus
and Penelope in Greek mythology whose story is told in
the Iliad and Odyssey. In this picture
Telemachus sits on a pile of rocks in front of a temple
playing his flute, surrounded by enraptured shepherds and
shepherdesses and their animals. Cochin's image may have
been inspired by Francois Fénelon’s Les
aventures de Télémaque (1699) which was
amongst the most read literary work of 18th century.
Hieronymous Cock
Netherlandish painter active in Antwerp; born ca 1510,
died 1570; son of Jan Wellens de Cock (died ca 1526). See
also Frans Floris.
-
Hearing (ca 1560-1570), painting, Hieronymous Cock
(ca. 1510-1570). Location unknown. Ref. Munich RIdM
(1999: Ngm 811). A personification of hearing stands in a
landscape playing a lute and surrounded by musical
instruments littered around her on the ground. Amongst
the latter are a harp, viol, flute, double pipes and a
recorder with a flared bell. There is also a copperplate
version (see below).
-
Hearing (ca 1560-1570), copperplate, Hieronymous
Cock (ca. 1510-1570). Nuremburg: Germanisches
Nationalmuseum, HB 27178. Ref. Munich RIdM (1999).
Includes a recorder. Copied from an original painting
(see above).
Jan Wellens de Cock
Netherlandish painter, active in Antwerp; a shadowy
figure, noteworthy as one of the earliest followers of Bosch;
his penchant seems to have been for small pictures of hermits
and saints in weird landscapes, but known in his day for
landscapes; active from 1506 to before ca 1529; father of
painters Matthys (ca 1509-1548) and Hieronymus (ca
1510-1570).
-
The Temptation of St Anthony (ca 1520), Jan
Wellens de Cock (op. 1506 – ca m.a. 1529). Madrid:
Prado, Thyssen Collection, Inv. 93. Ref. Anthony
Rowland-Jones (pers. comm., 2001). “A winged devil
sits on a cut tree trunk playing what in most respects
looks exactly like a recorder. It has a bell end of the
Virdung design, and the hand and finger positions are
correct, left hand lower with outstretched little finger.
The mouthpiece end of the instrument, however, is the
devil's nose” (Rowland-Jones loc. cit.).
Jean Cocteau
French artist and writer, who made his name widely known
in poetry, fiction, film, ballet, painting, and opera; his
works reflect the influence of surrealism, psychoanalysis,
cubism, Catholic Religion, and the use of opium; he was a
promoter of avant-garde styles and fashions; born Paris
(1889), died Milly, near Paris (1963).
-
Faun Playing a Flute (1959),
pastel, Jean Cocteau (1889-1963). Location unknown:
Auctioned 17 March 2000 (unsold). Ref. Gabrius Data Bank,
20th Century (2002 - col.) The head of a wild-haired faun
holds to his mouth a short conical pipe with five
(possibly six) finger-holes visible but no window/labium.
-
Faun Playing a Flute (1959), mixed media,
27 × 21 cm, Jean Cocteau (1889-1963). Location unknown:
Claeys Gallery (2009 - col.) A faun with enormous ears sits playing a stylised conical pipe – clearly a duct-flute, given the title.
Pieter Jacobtz Codde
Dutch painter of small, cheerful pictures of officers,
carousing in guard-rooms or dissolute ladies and gentleman
enjoying themselves, as well as portraits, genre scenes and
history paintings; born Amsterdam (1599), died Amsterdam
(1678).
-
The Party (1636), 48 × 75 cm, Pieter Jacobtz
Codde (1599-1678). The Hague: Mauritshuis. Ref. Bernt
(1948, 1: pl. 187); Griffioen (1988: 438-439);
Rijksbureau voor Kunsthistorische Documentatie (2001);
Anthony Rowland-Jones (pers. comm., 2001). A man beside a
woman lutenist plays a soprano recorder, right hand
lowermost. All the fingers (including the little finger)
of his lower hand are lifted showing holes four, five and
six (seven is not visible). The window/labium is not
visible. There is a short bell flare with a possible
incised ring. He plays from the side of his mouth,
perhaps to avoid the lutenist's arm. Nearby, leaning
against a table is a beautifully painted cello, and on
the floor are lute and violin and a book of music dated
1636. In the centre a woman dances.
-
Pallas Athena with the Muses, Pieter Jacobtz Codde
(1599-1678). Bremen: Kunsthalle. Ref. Munich RIdIM (1999:
BMkh 23). No instruments are played or held, but there is
a pile of instruments on the ground at the bottom right
of the picture. Four of these are woodwind instruments,
including a cylindrical alto recorder. Notes by Anthony
Rowland-Jones (pers. comm., 1999).
-
Musical Gathering, oil on panel, 32.5 × 42 cm, Pieter Jacobtz Codde
(1599-1678). Frankfurt: Städelsches Kunstinstitut:
Städtische Galerie, SG 509. Ref. Munich RIdIM (1999:
Fsm 18). Musicians seated around a table sing and play
lutes and a cylindrical slightly flared-bell pipe with no
visible window/labium or finger-holes, though the left
hand little finger position suggests a recorder. Notes by
Anthony Rowland-Jones (pers. comm., 1999).
Pieter Coecke (Cock; Coeck; Coeke; Kock; Koecke) van Aelst
[van Alost]
Flemish painter, sculptor, architect, weaver and
designer of woodcuts, stained glass and tapestries;
commissioned by Pope Leo X to make a series of tapestries
illustrating the Acts of the Apostles from cartoons
produced between 1514 and 1516 by Raphael (1483-1520), worked
in Antwerp and Brussels; born Aelst [now Aalst] (1502), died
Brussels (1556).
-
Lust (1540-1550), cartoon of tapestry from The
Seven Deadly Sins (also known as the Tapestry of
the Dance), Pieter Coecke van Aelst (1520-1556).
Brussels: Royal Museum of Art and History. Ref. D'Hulst
(1967: 203-212). Lust rides on a chariot drawn by a
seven-headed monster. In one hand she holds high her cup
of abominations; in the other is a mirror. At her feet
lies a lute. The side of her chariot is decorated with
musical instruments – a lyre, a Renaissance fiddle
crossed with its bow, two crossed shawms tied with a
ribbon and two duct-flutes (flageolets or recorders, one
with six holes visible) tied with ribbons. Note by A.
Rowland-Jones (pers. comm.)
-
The Seven Deadly Sins: The Triumph of Lust (ca
1542-1544), tapestry, 459 × 832 cm, designed (ca
1532-1533) by Pieter Coecke van Aelst (1520-1556). Woven
in Brussels (ca 1542–1544). Madrid: Patrimonio
Nacional, Palacio Real de Madrid. Ref. Exhibition,
Tapestry in the Renaissance: Art and Magnificence,
Metropolitan Museum of Art, NY (2002). Lust rides on a
chariot drawn by a seven-headed monster. In one hand she
holds high her cup of abominations; in the other is a
mirror. At her feet lies a lute. The side of her chariot
is decorated with musical instruments -- a lyre, a
Renaissance fiddle crossed with its bow, two crossed
shawms tied with a ribbon and two duct-flutes (flageolets
or recorders, one with six holes visible) tied with
ribbons.
Marcellus Coffermans (op. 1530 - p. 1578), Flemish
-
Holy Family with Angels, painting, Marcellus
Coffermans (op. 1530 - p. 1578). York: City Art Gallery.
"Putti play a little lute (left-handed) and a tiny
recorder" (Rasmussen, loc. cit.) X (1951) notes that the
putti are the reverse of the putti in Mabuse's Virgin
and Child (Palermo).
Evert (also Edward/Edwaert/Edwart/Evaert/) [Pietersz.]
Collier (Colÿer/Collyer/Colyer/Kollier/Coleyn etc.)
Dutch painter, possibly of English descent; works
include vanitas still-lifes and trompes l’oeil;
born Breda (ca 1640), died ? London (1708).
-
Vanitas (1672), oil on canvas, 166.3 × 136.5
cm, Evert Collier (ca 1640 – 1708). London:
Christies, Sale 7294, Old Master Pictures, 7 December
2006, Lot 28; formerly on loan to the Minneapolis
Institute of Art (1989-); auctioned in New York by
Christies, Important Old Master Paintings, 25 May
1999, Lot 10. Ref. Thieme & Becker (1992, 6: 263);
Legêne (1993: 103-104, colour illustraton);
Legêne (1995: 107); Grijp (1998: 38, no. 6, fig. 68
- detail); Bouterse (2001); Gabrius Data Bank (2004 -
col.); Artfact (2004). An early work by Collier, and the
format and size of the painting are also unique,
suggesting that it may have been a specific commission or
possibly produced for a special occasion. The only other
paintings of similarly large size are also early works,
and there is a marked difference in the high quality of
these paintings compared to many of the later works on a
smaller format, some of which have the appearance of
studio assistance. A similarly composed painting by
Collier, signed and dated 1662, of horizontal format
(102.5 × 132 cm.), is in the Rijksmuseum, Amsterdam
(Inv. A3471). The present painting depicts a globe, a
casket of jewels and medallions, books (including a
theological tome open at a chapter headed JERUSALEM), a
hurdy-gurdy, a bagpipe, a lute, a violin, a silver tazza,
a roemer, a nautilus shell, a shawm, a globe, a print
with a self-portrait of the artist and a musical score on
a draped table, a curtain with tasseled drapes above. A
slip of paper tucked between the pages of a Bible is
inscribed VANITAS VANITATUM ET OMNIA VANITAS. There are
two recorders of renaissance style: one is a tenor with a
metal-sheathed beak, the foot hidden beneath a book; the
other is a basset (standing on top of the hurdy-gurdy)
with a fontanelle and swallow-tail key. The musical score
is a copy of Questa dolce sirena from Jacob van
Eyck's Der fluyten lusthof (1644-ca 1655). Similar
instruments to the tenor recorder are depicted by van
Steenwijk, Vermuelen and Vliet. Sold for US$442,500
(Gabrius, loc. cit.) Note that Legêne (loc. cit.)
and Bouterse (loc cit), following her, give the date of
this work as 1662, but there is an obvious error in
Legêne's arithmetic.
-
Still-life (1690), panel, 41 × 52 cm, Evert
Collier (ca 1640 – 1708). The Hague: Hoogsteder.
Ref. Vroom (1980, 2); Legêne (1995: 119, pl. 7). On
a draped table lie a globe, an hourglass, a skull, a
watch, a lute, an oboe, a violin and bow, a bassoon, and
a hand-fluyt with ornamental incisions on the
bell.
-
Vanitas (1691), oil on linen, 77 × 65 cm,
Evert Collier (fl. 1640-1707). Castres: Musée
Goya. Ref. Moeck (1983: front cover – col.);
Early Music 16(3): 333 (1988); Moeck, Celle:
Tibia – Musikbilder auf Postkarten, Series
3, Nr 4 – Ed. Moeck Nr. 11103 (1987 – col.);
Francone et al. (1996: 33, fig. 20); Rijksbureau voor
Kunsthistorische Documentatie, The Hague ex Ruth van Baak
Griffioen (pers. comm., 2003). On a draped table are a
lute, oboe & guitar, a book open at a page inscribed
MUSICA LETITIA [sic.] COMES MEDICINA DOLORUM from beneath
which the head of a baroque recorder (with ivory mounts)
projects, a compass, a globe, an hour-glass, and an open
score of a Menuet.
-
Vanitas: Allegory of Art, Evert Collier (ca 1640
– ? 1710). Location unknown: Private collection.
Ref. Francone et al. (1996: 33, fig. 20 - b&w);
Angelo Zaniol (pers. comm., 2003). On a shelf are a book
with a ticket, another open at a page inscribed MUSICA
LETITIÆ COMES MEDICINA DOLORUM, an open score of a
Menuet, a violin and bow, an oboe (with an
elaborate ivory ferrule on the foot-joint), and a turned
baroque recorder with ivory beak and ferrule only the
head and first two finger-holes of which are visible.
-
Letter Rack (ca 1698), oil on canvas, Evart
Collier (fl. 1640-1707). Adelaide: Art Gallery of South
Australia. A still-life showing a letter rack with
letters, scissors, quill, wax, combs music (a
Menuet, perfectly legible), and a 4-holed
flageolet (not a recorder) with ivory mounts.
-
Vanitas / A Miscellany of Musical Instruments
(after 1702), 97 × 123 cm, Evert Collier (ca 1640
– ? 1710). Location unknown: auctioned Galerie St
Lucas, Vienna (1973). Ref. Crawford Sale, Christie's (11
October 1946); Galerie St Lucas, Vienna, Auction
Catalogue (1973/4: 22); Rasmussen & Huene (1982: 35,
fig 11 - b&w – caption in error); Rijksbureau
voor Kunsthistorische Documentatie, The Hague ex Ruth van
Baak Griffioen (pers. comm., 2003). On a draped table lie
a globe, a elaborately decorated nautilus cup, a
ornamental glass goblet, a plate of peaches, a book with
a ticket reading MUSICA LETITIÆ COMES MEDICINA
DOLORUM, a watch, a book open at a chapter entitled "The
Geographical Grammar by PAT. GORDON MA and Fellows of the
ROYAL SOCIETY for the Right Hnourable THOMAS Earl of
Coventry", an open music book, an oboe only the foot of
which is visible, a violin and bow, a bassoon, a bagpipe,
and a baroque-style recorder with ivory mounts, made of
wood stained to imitate tortoise shell (only the head and
centre joint visible. This work has been attributed to
Cornelis Brize (1622 – 1670/1679+). Gordon's
Geographical Grammar was first published ca 1702,
which suggests a forward date for this painting.
-
Vanitas still-life (1684), oil on canvas, 35.5
× 30.5 cm, Evert Collier (ca 1640 – 1708).
Honolulu: Academy of Arts; formerly Recklinghausen:
Private collection; sold at Maastricht 2006 to Johnny Van
Haeften; auctioned Sotheby's (London), 8 December 2005,
Lot 124 (sold). Ref. Bernt (1969, 1: 247); Grijp (?date:
37); Fischer (1972: 95-97, pl.-b&w); Fischer (1975:
70); Vroom (1980, II: 44); Griffioen (1988: 438-439);
Griffioen (1991: 64-65, fig. 3.9 – b&w); Debra
Pring (pers. comm., 2006). The artist sits at a draped
table on which are scattered a skull, a cap (with a blue
feather), a globe, books (one open), a smoking pipe, a
taper (lit), a goblet, and three instruments including a
violin (with a broken top string), the head and body of a
one-piece recorder (of which the maker's mark is
visible), and the body of a transverse flute, showing six
finger-holes and a metal ferrule at the foot. The artist
holds in one hand his palette and in the other a portrait
sketch of a woman (probably one of his deceased wives, or
the one who was alive at the time, portrayed together
with himself to intimate the brevity of life for both of
them, as seen on the piece of paper sticking out of a
book: 'Vita brevis ars longa'). Slipping off the table
underneath the violin and recorder is a book of music
open at a page headed 'TANNEKEN by Jacob van EYCK'.
-
Vanitas (1664), oil on canvas, 50.5 × 60 cm, Evert Collier
(fl. 1640-1710). Leiden: Museum de Lakenhal, Inv. 237.
Ref. Exhibition Catalogue: Mens en Muziek,
Dordrechts Museum (1957: No. 12); Museum de Lakenhal
(1970: 9); Museum de Lakenhal, Catalogue (1984: pl. 96);
Haak (1984/1996: 437, pl. 958); Jongh (1982: 15, #40);
Exhibition catalogue: Still Life in the Age of
Rembrandt, Auckland (1982); Griffioen (1988: 438-9);
Rijksbureau voor Kunsthistorische Documentatie, The Hague
ex Ruth van Baak Griffioen (pers. comm., 2003); Website,
Bibliopolis:
Images (2007 -col.) On a draped table are astronomical
and terrestrial globes, a purse, a watch, two open books,
an open copy of the song-book Cupidoos Lust-hof
[Cupid's Pleasure Garden] from 1662, a music book, a
violin and bow and an alto-sized renaissance-style
recorder with a metal-sheathed beak, the foot hidden
beneath one of the books. A ticket attached to the
terrestial globe reads VANITAS VANITATUM ET OMNIA
VANITAS. The left-hand book is Flavius Josephus's Van
die Joetsche oorloghe, ende Destructie van Jerusalem
[The Jewish War and the Destruction of Jerusalem],
probably from 1553, the other is Eerste weeck der
scheppinghe des werrelts [First Week of the Creation
of the World] by Du Bartas from 1622.
-
Vanitas Still Life, oil on
canvas. 125 × 100 cm, Evert Collier (fl.
1640-1710). Ref. Website: Storm Fine Arts (2001); Gabrius
Data Bank (2001 - b&w). A candlestick, musical
instruments, books (including one open at a chapter
entitled "A Description of the WORLD", an open jewellery
casket, a watchglass, a terrestrial globe, a musical
score and a print of Van Dyck's Self Portrait, all
on a table. A ticket reads Vita Brevis, Ars Longa.
The musical instruments are a violin and a baroque
boxwood recorder with ivory mounts and beak. Auctioned 14
April 1999, sold (Gabrius, loc. cit.) Auctioned by
Sotheby's, London on 4 July 2002; currently advertgised
for sale by Storm Fine Arts!
-
Vanitas, Evert Collier (fl. 1640-1710). Madrid:
Antique Fair, auction (a. 1993). Ref. Auction Catalogue
(1993: col.); Letter: Beryl Kenya de Pascual to Ruth van
Baak Griffioen (1993). On a table with a drape lie
jumbled together an ornate goblet, hourglass, skull
(upper part only), books, music, a watch, a globe, a
lute, violin, and a flared-bell recorder only the body
and foot of which are visible. Although only six
finger-holes are visible, the lowermost is offset for the
little finger.
-
Vanitas, Evert Collier (fl. 1640-1710). Munich:
Bernheimer (dealer). Ref. Rijksbureau voor
Kunsthistorische Documentatie, The Hague, 36578 (2001);
Anthony Rowland-Jones (pers. comm., 2001). A still-life
with a globe, an open book, a lute and a recorder. Only
the head of the recorder is visible, encased in a brass
sheath
-
Vanitas, oil on canvas, Evert
Collier (ca 1640 – 1708). London: Bonhams. Ref.
Gabrius Data Bank (2001 - b&w); Bridgeman Art Library
(2003: Image BON 19032 - col.) Beneath what looks like a
draped orange and white flag, astrological and terrestial
globes, travel and music books, a letter with a wax seal,
a writing set, a watch, an hourglass, a shawm (or oboe),
a violin, a lute, and the head of renaissance recorder
with a metal sheath covering beak and one finger-hole
visible. One of the books is open at a map of the world;
the other at a chapter entitled HOLLANDT. Auctioned 17
December 1998, unsold (Gabrius, loc. cit.)
-
Vanitas, oil painting, 62.5 × 75 cm, Evert
Collier (ca 1640 – 1708). London: Bonhams, Adams
Collection, Part III – Important Early European
Works of Art, Sculpture and Maiolica, 22 February 1996,
Lot 342. Ref. Artfact (2003). Still life, peaches on
pewter dish, nautilus cup, recorder.
-
Vanitas (1693), oil on panel,
Evert Collier (ca 1640 – 1708). Locality unknown:
formerly sold by Lord Carrington, London, 4 May 1951.
Ref. Rijksbureau voor Kunsthistorische Documentatie, The
Hague, Negative 902703; Gabrius Data Bank (2001 -
b&w); Ruth van Baak Griffioen (pers. comm., 2003).
Signed "E. Colier fec. Ano 1693)". On a draped table
before a column lie a terrestial globe, a score a closed
book, books (one of which is open at a chapter entitled A
COLLECTION OF EMBLEMS ANCIENT AND MODERNE), various
papers, a shawm (of which only the foot and lower body
are visible), a flute (with brass ferrule at foot) and,
projecting from underneath the books, a renaissance-style
recorder with a brass-sheathed beak, the window/labium
and two finger-holes clearly visible. A ticket between
the pages of one of the books reads VANITAS. Another,
behind the globe, reads VITA BREVIS ARS LONGA. Auctioned
10 July 1998, sold (Gabrius, loc. cit.)
-
Vanitas, oil on canvas, Evert
Collier (ca 1640 – 1708). Ref. Gabrius Data Bank
(2001 - b&w). On a draped ledge lie an open book, a
money bag, an hourglass, a terrestrial gobe, a lute and a
renaissance-style recorder. The recorder is partially
hidden underneath the lute and only the beak and
brass-sheathed head can be seen. Auctioned 31 October
1997, sold (Gabrius, loc. cit.)
-
Vanitas (>1684), oil on
canvas, Evert Collier (ca 1640 – 1708). London:
Sotheby's, Meadway Films, Ltd., 24 November 1971, Lot
153; Schickman Galleries; New York: Sotheby's, Important
Old Master Painting, 11 January 1996, Lot 71 (unsold).
Ref. Gabrius Data Bank (2001 - b&w); Artfacts (2003).
On a table lie books books by classical authors (Pliny,
Aesop and Cicero), music, a violin and a baroque style
recorder with an ivory beak, mid-joint retaining ring and
foot ring, and an exceptionally flared bell. A book is
open at chapter headed APOLOGY FOR ZOSIMUS. Above the
recorder a ticket reads "Vita Brevis, Ars Longa".
Auctioned again, 22 May 1997, sold (Gabrius, loc. cit.)
The inclusion of the book at the center of the
composition suggests a date for the present picture. An
English edition of Joannes Leunvlaviuss' Apology for
Zosimus . . . was published in 1684, and it seems
likely that the present work would date to after its
publication.
-
Vanitas, oil on panel, Evert
Collier (ca 1640 – 1708). Ref. Gabrius Data Bank
(2001 - b&w). On a draped table lie an hourglass, a
terrestial globe, a money bag, an open book, a watch, a
manuscript (signed E. Collier), the bell of shawm
(projecting from behind the glboe), a transverse flute
with brass ferrule at foot (propped up on the frame of
the globe), and a recorder with a brass- sheathed beak,
the window/labium and first finger-hole visible.
Auctioned 3 July 1996, sold (Gabrius, loc. cit.)
-
Vanitas, oil on canvas, Evert
Collier (ca 1640 – 1708). Ref. Gabrius Data Bank
(2001 - b&w). On a table covered in what appears to
be a carpet are a brown and grey stoneware jug, a
basket-covered wine bottle, a drinking glass with two
handles, a porcelain teapot, cup and saucer, a
candlestick and candle, a medalion and ribbon, a violin
and bow, an open music book, a closed book, and a
perfectly depicted baroque recorder in three pieces made
of brownish (? stained) wood. Auctioned 19 October 1993,
unsold; auctioned 1 March 1994, unsold; auctioned 6 March
1996, sold (Gabrius, loc. cit.)
-
Vanitas, oil on canvas, Evert
Collier (ca 1640 – 1708). Ref. Gabrius Data Bank
(2001 - b&w). On a table are a decorated nautilus
shell cup, an ornate pewter dish with grapes, cut peaches
and cherries, and a ? medallion draped over the head and
upper body of a baroque recorder with ivory beak and
mounts. Auctioned 22 February 1996, sold (Gabrius, loc.
cit.)
-
Vanitas, oil on panel, 34.9
× 26 cm, Evert Collier (ca 1640 – 1708).
London: Rafael Valls Gallery. Ref. Haynes (1988: 333,
fig. 20 – b&w); Woodmansterne Publications:
card; Rowland-Jones (2000b: fig.-b&w); Bridgeman Art
Library (2001: Image 81429 - col.); Gabrius Data Bank
(2001 - b&w). Scattered on a drapped table are a
globe, a printed book of music by Jacob van Eyck, books,
and musical instruments including a shawm, a transverse
flute with a metal ferrule at foot standing on the back
of a lute, and a baroque recorder in a light wood (? box)
projecting from under lute. One of the books is open at a
chapter headed LEYDEN. Auctioned 8 December 1995, sold
(Gabrius, loc. cit.)
-
Vanitas, oil on canvas, Evert
Collier (ca 1640 – 1708). Ref. Gabrius Data Bank
(2001 - b&w). On a draped table lie books, an
hourglass, a violin and bow, and a baroque recorder with
ivory head ferrules and foot ring. The book is open at a
page with the motto MUSICA LETITIÆ COMES MEDICINA
DOLORUM. Auctioned 19 October 1995, sold (Gabrius, loc.
cit.)
-
Vanitas, oil on canvas, 43.7 × 33 cm, Evert
Collier (ca 1640 – 1708). London: Christie's
1995, lot 1019. Ref. Rijksbureau voor Kunsthistorische
Documentatie, The Hague (2001); Anthony Rowland-Jones
(pers. comm., 2001). A violin, a recorder, a lute, books,
a musical manuscript … Not seen. Possibly a copy.
-
Vanitas (1662), oil on canvas, 95.3 ×
75.6 cm, Evert Collier (ca 1640 – 1708). Private
Collection. Ref. Sotheby's, New York, Lot 168A, 24
January 2002. A vanitas still-life with a globe, an
hourglass, a pouch, books, sheet music, a lute and a
recorder on a draped table. Only the head of the recorder
is visible which has a brass-sheathed beak. One of the earliest known works by Collier amongst a select group of vanitas paintings, dated from 1662. During this period he was working in Leiden. All four works by Collier dated 1662 are signed Kollier and it was not until his move to London in the 1690s that he began to sign his works Collier.
-
Vanitas, Evert Collier (ca 1640 – 1708).
Location unknown. Ref. Gabrius Data Bank (2002 - col.) On
a bench lie a violin, a metal teapot, a metal bowl, a
quill in an ink-stand, books, an open music book, and a
baroque recorder with an ivory beak and what may be an
ornate silver ferrule (the body and foot are hidden
behind the teapot).
-
Vanitas (1690), 41 × 52
cm, Evert Collier (ca 1640 – 1708). Location
unknown: auctioned Vroom, 1980 (nr. 196); auctioned by
Christie's, 29 October 1999 (sold). Ref. Griffioen (pers.
comm., 2003); Gabrius Data Bank (2002 - col.); Web site:
The Great Bass Viol (2004 - col.). Signed "E. Colyer
1690". On a bench lie an hourglass, a skull underneath
which is a ticket reading MEMENTO MORI, a terrestial
globe, an open book, a watch, an open music book, a
handbill which reads MUSICA LETITIÆ COMES MEDICINA
DOLORUM, a lute, a bassoon, a violin and bow, an oboe,
and a hand-fluyt. The beak, window/labium, seven
finger-holes (the last offset to the player's right), and
a slightly flared bell with incised decorative rings are
clearly depicted.
-
Still Life with a Volume of Wither's
`Emblemes' (1696), oil on canvas, 83.8 ×
107.9 cm, Evert Collier (ca 1640 – 1708). London:
Tate Gallery, Inv. No. 5916. Ref. Tate Gallery Website
(2002); Rijksbureau voor Kunsthistorische Documentatie,
The Hague, photo no. L.39602; Griffioen (pers. comm.,
2003). A cello leans against a draped bench on which lie
an open copy of Wither's Emblemes, an open music
book, a watch, a compass, an ornate chalice, a lute, a
violin, a cittern, a shawm, a bow, a flute and an
alto/tenor-sized recorder with a brass-sheathed beak, the
window/labium and first three finger-holes of which are
clearly depicted. In the background are a skull and an
urn beneath which hangs a piece of paper on which the
"VANITAS . . ." motto is printed. On a smaller table in
the foreground are a decorated pewter cup and some fruit.
-
Vanitas, 44 × 34.8 cm,
Evert Collier (ca 1640 – 1708). London: Johnny
van Haeften Gallery. Ref. Bridgeman Art Library (2002:
Image ID JVH 56649 - col.) On a table lie scattered a
casket, an hourglass, a nautilus shell, a terrestial
globe, papers, a book, and an alto/tenor-sized recorder
with a brass- or silver-sheathed beak, the window/labium
and first three finger-holes of which are clearly
depicted.
-
Vanitas (1680), oil on canvas, 83 × 71.3 cm,
Evert Collier (ca 1640 – 1708). London: auctioned
by Sotheby's. Ref. Auction catalogue, (?date: 162);
Constance Scholten (pers. comm., 2003). On a draped table
lie a terrestial globe, an hourglass, a book with a
ticket reading OMNIA VINCIT AMOR, a tied bundle of papers
with a ticket reading VANITAS, a book open at a chapter
headed "A Description of the WORLD", an open music book
(which seems quite legible), a watch, a violin, an oboe
(only the bell of which can be seen), and a baroque
recorder with ivory beak and mounts the head and upper
body of which stick out from underneath the pile.
However, there is something very peculiar about this
recorder. Instead of a window/labium it has the
embouchure hole of a transverse flute! Otherwise it is
identical to a Vanitas of unknown location (see
below).
-
Vanitas (1702), 82.5 × 71.2 cm, Evert
Collier (ca 1640 – 1708). Location unknown: ex
Lord Brownlow, auctioned 14/12/1984; auctioned 10/12/2004
(sold). Ref. Auction catalogue (1984 - pl. 223); Ruth van
Baak Griffioen (pers. comm., 2003); Gabrius Data Bank
(2007 - col.) On a draped table lie a terrestial globe,
an hourglass, a book with a ticket reading OMNIA VINCIT
AMOR, a tied bundle of papers with a ticket reading
VANITAS, a book open at a chapter headed "A Description
of the WORLD", an open music book (which seems quite
legible), a watch, a violin, an oboe (only the bell of
which can be seen), and a baroque recorder with ivory
beak and mounts the head and upper body of which stick
out from underneath the pile. Apart from its window /
labium this painting is identical to a Vanitas
acutioned by Sothebys, London (see above). A recreation
of this (or a painting very much like it) is available
from Prestige Fine Art
-
Vanitas (1662), oil on panel, 98.5 x
78 cm, Evert Collier (ca 1640 – 1708). Signed and
dated. Milan: Bigli Art Broker. Ref. Bigli (2003 - col.)
Signed 'Kollier' and dated by the artist. On a table
covered by an embroidered cloth lie a terrestial globe,
papers, books, a lute, the bell of a shawm, and a
recorder. Only the head of the latter can be seen
projecting from beneath the lute. Its beak appears to be
metal-sheathed, and there may be a maker's mark below the
window/labium. An open book at the center of the painting
is a treatise on Islam. This painting needs rennovation.
Despite the monochromatic cast (due to an earlier
varnishing), this painting is in excellent condition. It
is currently for sale.
-
Vanitas: Vita brevis ars longa (1684), 77 ×
64 cm, Evert Collier (ca 1640 – 1708). Location
unknown: auctioned F. Muller & Co., Amsterdam. Ref.
Rijksbureau voor Kunsthistorische Documentatie, The
Hague, photo no. L.39602; Griffioen (pers. comm., 2003).
Signed "E. Colÿer. Anno 1684" On a draped table are
piled a globe, papers, books, one of which is open at a
chapter headed DOMINICUS OMNIA, the top part of a skull,
a shawm (foot only visible), a flute with a metal ferrule
at the foot, a violin, and a hand-fluyt the foot
of which lies beneath the jaw of the skull. The beak of
the recorder is metal-sheathed; a maker's mark below the
window/labium may be legible. A ticket beside the skull
reads VITA BREVIS ARS LONGA.
-
Vanitas (1680), 86 × 68.5 cm, Evert Collier
(ca 1640 – 1708). Location unknown: auctioned
Marle, de Sille & Baan, Rotterdam, 28 January 1942,
lot 101. Ref. Rijksbureau voor Kunsthistorische
Documentatie, The Hague, Negative No. 70e; Griffioen
(pers. comm., 2003). Singed "E. Colyer" and dated 1680.
On a draped table are piled a globe, a elaborately
decorated nautilus shell, a watch, an hourglass, a purse,
papers, books (one open at a chapter headed AMSTERDAM), a
shawm (only the foot of which is visible), a lute, a
flute with a brass ferrule at the foot (perched on the
globe), and a recorder with a metal-sheathed beak, only
the head of which is visible.
-
Vanitas Still-life (1692), oil on panel, 36
× 28.5 cm, Evert Collier (ca 1640 – 1708).
London: Sotheby's Sale L06034, Old Master Paintings, 7
December 2006, Lot 147. On a draped table are a globe, an
hour-glass, a book open at a page headed ? ROMEN, and a
score, together with a shawm, a lute, a flute, and a
recorder with a metal-sheathed beak, only the head and
upper body of which are visible. A maker's mark can be
seen immediately below the window. Below the book and
score is a ticket reading HAEC MEA VOLUPTAS …
Another very similar composition, also signed and dated
1692, was sold in London by Christie's, 8 December 1995,
Lot 206.
-
Vanitas (1695), 75 × 61.5 cm, Evert Collier
(ca 1640 – 1708). Location unknown: auctioned
Sotheby's, London, 11 July 1979, Lot 211. Ref. Sotheby's
Negative Nr. 011384 (1979); Rijksbureau voor
Kunsthistorische Documentatie, The Hague ex Ruth van Baak
Griffioen (pers. comm., 2003). Signed "E. Collier" and
dated 1695. On a draped table are a violin, a watch, a
necklace, an hourglass, boxes, papers, books (one open at
a chapter entitled THE YOUNG LOVER'S ENQUIRY), a violin,
lute, shawm (only the foot is visible) and a tenor-sized
baroque recorder with ivory beak and mounts and a wide
foot.
- Vanitas Still-life (1693-1706), oil on canvas, 37 × 30.4 cm, Edwaert Collier (op. 1663 - m. 1708).
Location unknown: Sotheby's (London) Sale L07034, Lot 188, 6 December 2007.
Ref. Website: Sotheby's (2007 - col.)
On a table draped with a green cloth with a fringe are books, manuscripts, an alto recorder, a lute, a violin, an hourglass, a compass. The recorder is of baroque form with an ivory ferrule on the head joint and lies beneath a book open at a page headed "The Young Lover's ENQUIRY". The latter, also known as "The Bachelor's Question to Cupid", is a traditional English ballad and suggests that Collier painted this work during his period in London, between the years 1693 and 1706. Inscribed on a note projecting out from a closed book lower left the words VITA BREVIS ARS LONGA. Projecting from another closed book centre right is a note bearing the word VANITAS.
-
Vanitas Still-life, painting, school of Evert
Collier (ca 1640 – ? 1710 ). Location unknown:
formerly property of Mrs G.M. Cumberlege-Ware, auctioned
London, 11 March 1983, nr. 101; auctioned 01/11/2005
(sold). Ref. Rijksbureau voor Kunsthistorische
Documentatie, The Hague ex Ruth van Baak Griffioen (pers.
comm., 2003); Gabrius Data Bank (2007 - col.) On a bench
are a globe, papers, a ticket reading VANITAS, a book
open at a page reading MUSICA LABORUM DULCE LEVAMEN, an
open music book (probably legible), a violin and bow, and
an alto-sized recorder with ivory beak and mounts and a
wide foot.
-
Vanitas, oil on canvas, 35.6 × 30.2 cm,
Evert Collier (ca 1640 – 1708). Glens Falls, New
York: The Hyde Collection Art Museum, 971.12. Ref.
Rijksbureau voor Kunsthistorische Documentatie, The Hague
ex Ruth van Baak Griffioen (pers. comm., 2003). On a
draped table are a skull, a glass of wine, a candlestick
and candle, a globe, a smoking pipe, a closed book with
tickets reading MEMENTO MORI and VITA BREVIS ARS LONGA,
an open book, an open music book (tenor part), a violin,
and a three-piece baroque recorder with ivory beak and
mounts and an unusually wide foot.
-
Vanitas, 22.5 × 18.5 cm, Evert Collier (ca
1640 – ? 1710). Location unknown: auctioned
Stockholm, 11 December 1935. Ref. Rijksbureau voor
Kunsthistorische Documentatie, The Hague ex Ruth van Baak
Griffioen (pers. comm., 2003). On a draped table are an
hourglass, a globe, a purse, boxes, a music book, a note
(illegible in photocopy), a spear with bunting, a lute, a
shawm (only the bell of which is visible), a violin and
bow, and a renaissance-style recorder with a
metal-sheathed beak. Below the window/labium of the
recorder a maker's mark is visible; the lower body and
foot are hidden beneath the lute. The illegible note is
signed "E.K."
-
Vanitas, 30 × 25 cm, Evert Collier (ca 1640
– ? 1710). Leipzig: Museum der Bildenden
Künste, Inv. Nr. 1486. Ref. Rijksbureau voor
Kunsthistorische Documentatie, The Hague ex Ruth van Baak
Griffioen (pers. comm., 2003). On a draped table are a
globe, an ornamental nautilus shell, a bust, a skull
(upper part), a watch, a sword, a book open at a chapter
headed BREDA, an open music book (bass part, legible),
and a recorder of which only the head and upper body are
visible, the window/labium, maker's mark and first two
finger-holes clearly depicted. Two tickets read SIC
TRANSIT GLORIA MUNDI and FINIS CORONAT OPUS.
-
Vanitas, 24 × 21 cm, Evert Collier (ca 1640
– ? 1710). Location unknown: sold F. Muller &
Co., Amsterdam, 25 October 1927, No. 15. Ref. Rijksbureau
voor Kunsthistorische Documentatie, The Hague ex Ruth van
Baak Griffioen (pers. comm., 2003). On a draped table are
a globe, an ornamental nautilus shell, a bust, a book
open at a chapter headed BREDA, a portrait of a man
smoking, a sheet of music (legible), a lute, a transverse
flute and a hand-fluyt with a metal-sheathed beak.
-
Vanitas, 80 × 63 cm, Evert Collier (ca 1640
– ? 1710). Location unknown: sold Copenhagen 1965.
Ref. Gammelbo (1960: 201); Rijksbureau voor
Kunsthistorische Documentatie, The Hague ex Ruth van Baak
Griffioen (pers. comm., 2003). On a draped table are a
globe, books, a glass goblet with a peeled lemon in it,
an open music book (legible), a lute, oboe, violin and
bow and a baroque recorder with ivory mounts only the
head and upper body of which project from underneath the
violin.
-
Vanitas, 107 × 89 cm, Evert Collier (ca 1640
– ? 1710). Location unknown: sold London, 13
December 1991. Ref. Rijksbureau voor Kunsthistorische
Documentatie, The Hague ex Ruth van Baak Griffioen (pers.
comm., 2003). On a draped table are an ornate challice, a
globe, the upper part of a skull, a glass goblet, a box
of jewels, a book (one open), an hourglass, a nautilus
shell, a watch, a vase of flowers, papers, an open book
of music, a violin and bow, two shawms (one with only the
foot visible; the other with part of the body and foot
visible), and two recorders one of which is leaning
upright against the flower vase, the other of which is
lying on the bottom right of the table and has a
metal-sheathed beak. A ticket above the latter recorder
reads VANITAS VANITATUM ET OMNIA VANITAS.
-
Vanitas, 113.2 × 99 cm, Evert Collier (ca
1640 – ? 1710). Bonn: Rheinisches Landesmuseum,
Inv. No. 52.89. Ref. Rehinisches Landesmuseum, Catalogue
(1982: 145); Rijksbureau voor Kunsthistorische
Documentatie, The Hague ex Ruth van Baak Griffioen (pers.
comm., 2003). On a table lie a globe, a statue of a naked
woman on a pedastal, a nautilus goblet, the upper part of
a skull, a pearl necklace, a portrait (of the patron,
perhaps), an open picture book, an open music book, a
lute and a renaissance-style recorder only the head of
which can be seen. Bubbles float above.
-
Vanitas, 49.5 × 67.2 cm, Evert Collier (ca
1640 – ? 1710). Location unknown: auctioned
Christies, London, 8 July 1977, No. 52. Ref. Rijksbureau
voor Kunsthistorische Documentatie, The Hague ex Ruth van
Baak Griffioen (pers. comm., 2003). On a draped table are
a globe, an hourglass, a highly decorated nautilus cup,
two books, one open at a chapter headed LEYDEN, the other
with a ticket with a motto (illegible in photocopy), a
watch, a necklace, a violin, a lute, and a
renaissance-style recorder with a metal-sheathed beak,
the foot hidden beneath the open book.
-
Vanitas (1696), 100.3 × 122.6 cm, Evert
Collier (ca 1640 – 1708). Location unknown:
auctioned ? dealer, London, 7 July 1989, No. 6. Ref.
Rijksbureau voor Kunsthistorische Documentatie, The Hague
ex Ruth van Baak Griffioen (pers. comm., 2003). On a
draped table are a sword, a casket with jewels, a watch,
a highly ornamented chalice, a globe, books (one open at
the title paged which reads "The Famous and Memorable
Works of JOSEPHUS A MAN OF MUCH HONOUR AND LEARNING AMONG
THE JEWS", another closed with a motto reading HAEC MEA
VOLUPTAS …), an open music book (legible), a
portrait (of the patron, perhaps), a violin and bow, and
a turned baroque recorder with ivory beak and mounts, the
lower body and foot hidden underneath the books.
-
Vanitas, 76 × 62 cm,
Evert Collier (ca 1640 – 1708). Location unknown:
auctioned ? dealer, Rome, 23 May 1989, No. 190. Ref.
Rijksbureau voor Kunsthistorische Documentatie, The Hague
ex Ruth van Baak Griffioen (pers. comm., 2003); Corbis
Image Library, Image X001662 (2003 - col.);
globalgallery.com (2006 - col.) On a draped table are an
hourglass, an ornate vase, books, a scallop shell,
papers, a ?powder-horn, a skull and cross-bones, a
violin, a shawm (only the foot of which is visible), a
baroque recorder with ivory mounts, the upper head out of
frame. A ticket under the vase reads VANITAS VANITATUM ET
OMNIA VANITAS; another under the skull and crossbones
reads MEMENTO MORI.
-
Vanitas, 32.5 × 26 cm, Evert Collier (ca
1640 – ? 1710). Location unknown: auctioned J.F.
Treling, Amsterdam (1960). Ref. Rijksbureau voor
Kunsthistorische Documentatie, The Hague ex Ruth van Baak
Griffioen (pers. comm., 2003). On a draped table are a
globe, two books (one open at a chapter entitled STADT
ROMEN), a sheet of music, a shawm (only the foot visible)
and a renaissance-style recorder with a metal-sheathed
beak, only the head and upper body of which are visible.
A ticket from underneath the books reads VITA BREVEIS ARS
LONGA.
-
Still Life with Flute (1695), oil on canvas, 73.7
× 61.0 cm, Evert Collier (ca 1640 – 1708).
Charlotte (N. Carolina): Mint Museum of Art, Inv.
1963.15. Ref. Debra Pring (pers. comm., 2007 & 2009). Painted in
London two years after Collier's arrival in London in
1693. On a table lie an open book titled 'Description of
LONDON' with others behind cocnerning 'Plato' and
'Aristotle' on the spines. To the left is the belly of a
lute. A violin crosses the centre and behind it is its
bow, only the end of which is visible. An alto recorder
lies across the front, under the violin and across an
open book of music. The music notation is interesting.
The left-hand page (overhanging) is clearly titled 'The
Grenaders March' (sic.) and is exactly the same notation apart from two notes as the 'Grenadeers March' or 'Grenadiers March' (two different spellings in different editions of Playford), which first appears in the 1686 edition. Although it is definitely 'real' notation it is as yet unidentified. The partially visible notation on the
right-hand page has a partial title 'The Trumpet hellip;' Notes from Pring (loc. cit.)
-
Vanitas, oil painting, 60 × 72.5 cm, Evert
Collier (ca 1640 – 1708). New York: Sotheby's, 22
May 1997, Lot 82. Ref. Artfact (2003). Still life with
violin, recorder, lute, books and music.
-
Vanitas, oil on canvas, circle of Evert Collier
(ca 1640 – 1708). London: Christies, 13 December
2003, Lot 101. Ref. Artfacts (2003). Books, an hour
glass, a recorder, a lute, a musical score, and a skull
and cross bones. Signed (?) 'RChandler' (centre right)
and inscribed and dated 'Memento Mori, 1695.'
-
Vanitas, oil on canvas, 43.7 × 33 cm, circle
of Evert Collier (ca 1640 – 1708). London:
Christie's, Old Master Pictures, 19 October 1995, Lot
402. Ref. Artfacts (2003). A violin, a recorder, books, a
musical manuscript and an hourglass on a draped table.
-
Vanitas, oil on canvas, 59.6
× 71.1 cm, follower of Evert Collier (ca 1640
– ? 1710). Location unknown: Auctioned Christie's,
London, Anonymous Sale, Lot 30, February 1988;
Christie's, New York, The House Sale (Sale 1273), Lot 30,
September 30 - 1 October 2003. Coins, an overturned
hour-glass, an urn, a skull, a candle, books, a violin
and bow, a baroque alto recorder with ivory beak and
mounts, and a score lie on a table. When offered at
Christie's in 1988, the work was sold with a certificate
dated 12 September 1987 by Professor Ingvar
Bergström as by Evert Collier. The beak of the
recorder is very unusually shaped, narrowing markedly
below the mouthpiece before flaring out again. Otherwise
this instrument bears a strong resemblence to one
depicted in several of Collier's other paintings. An
identical painting auctioned by Sotheby's in 2004 was
attributed to a follower of Pieter Gerritsz. van
Roestraten. However, the dimensions of the two paintings
are slightly different. Both paintings are attributed to
Collier here.
-
Vanitas, oil on canvas, 60.3 × 71.4 cm,
follower of Evert Collier (ca 1640 – 1708).
Location unknown: Auctioned Sotheby's, London (Olympia),
Lot 295, 20 April 2004. Coins, an overturned hour-glass,
an urn, a skull, a candle, books, a violin and bow, a
baroque alto recorder with ivory beak and mounts, and a
score lie on a table. The beak of the recorder is very
unusually shaped, narrowing markedly below the mouthpiece
before flaring out again. Otherwise this instrument bears
a strong resemblence to one depicted in several of
Collier's other paintings. Sotheby's London attribute
this painting to a follower of Pieter Gerritsz. van
Roestraten. However, an identical painting auctioned most
recently by Christies, New York, in 2003 was attributed
to Collier. The dimensions of the two paintings are
slightly different. Both paintings are attributed to
Collier here.
-
Vanitas (1701), 71.1 × 60.3 cm, Evert
Collier (ca 1640 – 1708). Location unknown:
auctioned 07/12/2005 (sold) Ref. Gabrius Data Bank (2007
- col.) A violin, a baroque alto recorder with ivory beak
and mounts, books, a scroll and music with a globe on a
marble ledge. The foot and most of the body of the
instrument are hidden behind the violin. Rather crudely
executed.
-
Vanitas, oil on canvas, 76
× 63 cm, follower of Evert Collier (ca 1640 –
? 1710). Location unknown: auctioned Sotheby's, Olympia,
Old Masters (WO5718) - 1 November 2005 Lot 72. On a
draped table lie a globe, books (including one open),
papers, a violin, and an alto baroque recorder with an
ivory beak and ferrule on the head-joint.
John Collier [Tim Bobbin, pseudonym] (1708-1786)
English writer in the Lancashire dialect and village
school master of Milnrow, near Rochdale; born 1708), died
Rochdale (1786).
- Pictorial monogram (1767), engraving, John
Collier (1708-1786). Ref. Kenworthy (1965). Tim Bobbin was
a Lancashire dialect writer and village school master of
Milnrow, near Rochdale. There, according to a memoir in an
1862 edition of his works, 'at liesure hours he amused
hmself by lessons in the art of drawing, and in playing
upon the hautoby and English flute, and soon became such a
proficient as to be qualified to instruct others in these
amusing and ornamental arts'.
In Tim Bobbin's satirical proclamation (January 1767)
dispensing charity to the poor, every gift is so hedged
round with conditions that the final outlay is nil. It is
signed with four symbols, namely a bird, an ant, a
recorder and the monogram 'LS' in a circle and thus was
probably directed at Robin Entwistle, member of a local
land-owning family. The recorder leaves no doubt as to
the identity of Bobbin's 'flute'.
Tom Bobbin's tombstone in Rochdale is inscribed with an
epitaph which he is said to have written himself twenty
minutes before he died. An earlier epitaph by himself
published in his Collected Works (1786) reads as
follows:
A yard beneath this heavy stone,
Lies Jack-of-all-trades, good at none.
A weaver first, and then school-master;
A scrivener next; next poetaster.
A painter, graver, and a fluter.
And fame doth whisper, a C––r;
An author, Carver, and hedge-clark:
E whoo-woo-whoo, whot whofoo wark!
He's left um aw, to lie ith dark!
Angelo-Michele Colonna & Agostino Mitelli
Colonna (1600-1687) and Mitelli (1609-1660) were the
leading specialists in quadratura (the pictorial
extension of a wall, a form of illusionist painting),
virtually monopolising such commissions throughout Italy; by
training a large school in their decorative style, they lay
the foundation for its development in the 18th century.
- Untitled, quadratura mural, Angelo-Michele
Colonna (1600-1687) & Agostino Mitelli (1609-1660).
Sassuolo: Estense Palace. Ref. Paris RIdIM (1999). One of
four murals of 'balconies' – two each with singers
and instrumentalists. Here, men play bass trombone, violin,
viol (or cello) and a conical recorder of tenor size, the
window/labium and finger-holes and positions clearly
depicted.
Paulus de Collonia (13th century), German
-
Coronation of the Virgin (ca 1389), bronze
relief, Paulus de Collonia (14th century). Detail.
Guadelupe (Estramadure, Spain): Monastery of Nuestra
Señore de Guadelupe, portal, door panel. Ref.
Fabbri (?date: vol. 8, p. 14, fig. – b&w);
Zaniol (1984, November: 4); Enciclopedia dell'Arte
Medievale (1996, VII: 127); Rowland-Jones (1999c: 13,
fig. 4 – b&w). "Another recorder almost
identical to this [ie, that illustrated by Padre Serra]
appears in the bas-relief decorating the portal of a
monastery in Guadeloupe, in Spain, which dates from the
Fourteenth Century. This portal, also includes four other
instruments" (Zaniol, loc. cit.) Mary and the
Christ-child sit enthroned surrounded by angel musicians
who play organetto, harp, lute, fiddle and duct-flute
with a window/labium and slightly oblique and flared
bell. The player of the later has all four fingers of
both hands on the instrument which may represent a
recorder. The doors are inscribed "Paulus de Collonia"
and "Alleman fecit". "The bronze doors were installed at
the end of the 14th century, possibly around 1389, the
date given for the completion of the increasingly lavish
monastery church, after which attention moved to building
the cloister (1389-1405). The doors, possibly ordered
from Cologne (this is just a guess), could have been a
final sumptuous finish to the façade of the
church. If the work belongs roughly to the last two
decades of the 14th century this matches the dating of
the pere Serra Tortosa altarpiece" (Rowland-Jones 1999,
pers. comm.)
-
Nativity (ca 1389), bronze relief, Paulus de
Collonia (14th century). Detail.
Guadelupe (Estramadure, Spain): Monastery of Nuestra
Señore de Guadelupe, portal, door panel. Ref.
Enciclopedia dell'Arte Medievale (1996, VII: 127);
Rowland-Jones (1999, pers. comm.) The Holy Family are
visited by two shepherds, one of whom grasps a
flared-bell duct-flute in one hand below which four
finger-holes are clearly visible and two indentations
which seem to indicate paired holes for the little finger
of the lowermost hand. Thus this instrument is highly
likely to represent a recorder. The doors are inscribed
"Paulus de Collonia" and "Alleman fecit". "The bronze
doors were installed at the end of the 14th century,
possibly around 1389, the date given for the completion
of the increasingly lavish monastery church, after which
attention moved to building the cloister (1389-1405). The
doors, possibly ordered from Cologne (this is just a
guess), could have been a final sumptuous finish to the
façade of the church. If the work belongs roughly
to the last two decades of the 14th century this matches
the dating of the Pere Serra Tortosa altarpiece"
(Rowland-Jones 1999, pers. comm.)
Michele di Luca dei Coltellini [Cortellini]
Italian painter of religious works of great fervour;
also collaborated with his sons Alessandro, Galasso and
Baldassarre, who were maskmakers; born Ferrara (ca 1480),
died after 1543.
-
Coronation of the Virgin,
ceiling fresco, Michele di Luca dei Coltellini (ca 1480
– p. 1543). Ferrara: Chiesa de Santa Maria della
Consolazione, dome. Ref. Paris RIdIM (1999 –
detail). Angels on the wing play straight trumpet,
crumhorn, and a long cylindrical duct-flute. The beak of
the latter is quite clearly depicted, and its size and
the disposition of the player's fingers seems to point to
a recorder rather than a flageolet. Others play lute,
fiddles, viol, harp
Jean Columbe [Colombe]
French illuminator, who completed the famous
Trés Riches Heures manuscript commenced by the
Limburg brothers; born 1440, died ?1493; brother of Michel
Columbe.
- Book of Hours of L. de Laval: Christ and
the Virgin (1480), miniature, Jean Columbe
(1440-?1493). Paris: Bibliothèque Nationale. Ref.
Encycl. Musique (?date: 712, pl. 1); Angelo Zaniol
ex Anthony Rowland-Jones (pers. comm., 2000). Christ and
the Virgin seated are flanked by soldiers, prelates and
others. Behind them are angels. At their feet are a host of
angels in numerous ranks, the front one of which comprises
six musicians playing organetto, lutes, and three narrowly
flared duct-flutes (in each the window/labium and a number
of finger-holes are clear).
-
Très Riches Heures of John Duke of Berry,
f.158r: Christmas
Mass (1485-1490), illumination, Jean Columbe
(1440-?1493). Ref. Early Music (1990, August: 363,
pl.- b&w); Anthony Rowland-Jones (pers. comm., 2001).
Shows Christmas Mass in a private chapel, almost
certainly the 'Sainte-Chapelle' of the Duke's palace at
Bourges. A rather rough looking character emerges from
behind a curtain and looks at the two comely singing nuns
nearby. In his left hand he holds something which could
be a recorder, and he seems to be looking rather
pointedly at the young women reading from their
prayer-books. His presence during the service is
enigmatic; perhaps there had been a semi-dramatic
interlude with this man representing a shepherd. Is it a
symbol of the sin of lust in our midst, even in the
Duke's private chapel during Christmas Mass?
Johann Amos Comenius (18th century), German (Nuremburg)
-
Orbis Sensualium Picti … CXXXI. Tibiarius. Der
Pfeiffen-Macher, (1754: 394), print, Johann Amos
Comenius (18th century). Moeck, Celle: Christmas postcard
(undated). Depicts an instrument-maker's atelier. One
craftsman works at a foot-powered lathe; another discuss
the merits of a flute with a customer. On and beside a
table before the last two are displayed a bassoon, an
oboe, a three-piece capped-reed instrument of some kind,
and a turned baroque recorder.
Charles Compton
British artist and civil servant; born 1828, died 1884.
-
A Young Boy with a Recorder (1851), oil on canvas,
62 × 52 cm, Charles Compton (1828-1884). London:
Bonhams, Oils and Frames, 14 November 2000, Lot 127. Ref.
Artfact (2003). Not seen.
Gillis van Coninxloo [Koningsloo]
Netherlandish painter and draughtsman; his works include
tapestry cartoons and panoramic landscapes populated by
biblical or mythological pesonages; born Antwerp (1544, died
1607.
-
Landscape with the Judgement of
Midas, Gillis van Coninxloo [Koningsloo]
(1544-1607). Ref. Carlos Parada, Greek
Mythology Link (2002). Apollo stands playing an
improbable-looking harp; Marsyas sits holding a
flared-bell pipe with a bulbous beak. Midas, already
sprouting asses ears, points in approval to Marsyas; an
elderly male judge indicates that he favours Apollo. A
naked female figure with her back to us (? Minerva), her
arm around a clad male figure, has cast a flared-bell
pipe aside.
Benjamin Cooke
- Title Page: Directions for Playing on
the Flute, Benjamin Cooke, London (1735) US Wcm. Ref.
Vinquist (1974: 58, 211-212). Pirated by Rutherford (ca
1760; Vinquist, loc. cit., fig. 3-2); and by Longman &
Broderip (1779-1798), whose title page includes a mirror
copy of Cooke's frontispiece (Welch 1911/1961: 82-83, fig
41). A young man sits at a half table on which his music is
propped up on a folding stand playing a three-piece, turned
baroque recorder; his tutor leans over his shoulder,
pointing to the score.
Juan de Coorduba (fl. 1665 – 1702), ? Austrian
-
Vanitas (1665), 56.5 × 68 cm, Juan de
Coorduba (fl. 1665 – 1702). The Hague: Collection
Hans Hungeling. Ref. Paris RIdIM (1999). On a table lie
playing cards, books, a music score, papers, a watch, a
skull, a globe, an hour-glass, a pochette
(dancing-master's fiddle) and a recorder, the head of
which pokes out form beneath some crumpled paper. The
maker's mark is clearly visible.
Adriaen [Adrian] Coorte
Dutch painter of still-lifes, including increasingly
complicated representations of flowers, fruit, vegetables and
shells; born ? Middelburg (? 1660), died ? Middelburg (after
1707).
-
Vanitas (1686), oil on panel, 50.1 ×
41.4 cm, Adriaen Coorte (? 1660 - p.1707). Location
unknown: offered for sale by Silvano Lodi, Munich, 6-4
November 1969; Sothebys, Sale L08033, 9 July 2008, Lot 34.
Ref. Apollo, November: cxiii (1969
- b&w); Constance Scholten (pers. comm., 2005); Website: Sothebys (2008 - col.)
On a shelf are scattered an hourglass, a flowering stalk of
dried grass, papers, a book, the top part of a skull, an
unusual two-tiered tray (each tier with a pouring lip),
and a shell behind which can be seen the head of a ?
soprano recorder. Painted in 1686, this is the first of only five vanitas still lifes by Adriaen Coorte, each of which was executed in consecutive years (in 1686, 1687 and 1688). Unlike most artists of the vanitas still life Coorte does not rely on textual references to convey his message but expresses himself purely through the language of painting and, although he includes here the usual references to death (with the skull, recorder and empty conch shell, as well as to life's transience (in the hourglass), the sombre tone is permeated by a sense of hope through the ear of corn, an emblem of the Resurrection.
Alexander Coosemans
Flemish artist; painted Pronk still-lifes, still-lifes
with flowers and fruit, vanitas still-lifes and still-lifes
in the open; there are also a few still-lifes with cartouches
adorned with garlands of fruit and flowers; born Antwerp
(1627), died Antwerp (1689).
-
Still-life (1645-1665), Alexander Coosemans
(1627-1689). Schleißheim: Gemäldegallerie
Schloss Schleißheim (annex of Munich Alte
Pinakotek). Ref. Rijksbureau voor Kunsthistorische
Documentatie 16308 (2001); Anthony Rowland-Jones (pers.
comm. 2001). A still-life with fruit, glasswork and
musical instruments in a landscape. Includes the lower
part of a tenor recorder with a slight bell flare. Three
in-line finger-holes are visible plus an offset hole for
the little finger of the lower-most hand.
Pere Compte
Spanish engineer and architect; born Valencia, died
Valencia (1506).
- [Pipe & Tabor Player] (1493-1506), stone carving, Pere Compte (? –
1506). Valencia: Lonja de mercaderes o de la seda (Silk
Exchange). Refs: Centre for Music Documentation (CMD) in
Madrid; Anthony Rowland-Jones (pers. comm., 2001); Wilfried Praet (pers. comm., 2010).
“This carving in 15th century flamboyant Gothic style
shows a pipe and drum. The instrument is not a tabor pipe,
however. It is damaged at the lip so there is no sign of a
reed or window/labium, but beneath the head of the
instrument a large ring stands proud of its circumference,
followed by two finger-holes and another similar large
ring, followed by one finger-hole, the player's left hand
holding the instrument, and a pair of offset holes close to
the flared bell end” (Rowland-Jones, loc. cit.)
- [Piper], stone relief vault bos, Pere Compte (?
– 1506). Valencia: Lonja de mercaderes o de la seda
(Silk Exchange). Refs: Centre for Music Documentation (CMD)
in Madrid; Anthony Rowland-Jones (pers. comm., 2001); Wilfried Praet (pers. comm., 2010.
“The instrument is within a hooded support under one
of the carved ceiling beams of the maritime law court in
the Lonja. A man holds a tenor recorder with a clear beak
and window/labium, and possibly seven (or even eight)
holes. The holes are slightly obscured by the fingers of
the upper, right, hand, which is followed by one clear
hole, then the left hand with all fingers down, followed by
another clear hole and two smaller holes out of line at the
turn of the body of the instrument as it expands into a
wide and heavy bell end” (Rowland-Jones, loc. cit.)
Gonzales Coques
Flemish specialist in small-scale, fashionable genre
painting and portraiture; born 1614/18, died 1684.
-
The Painter in his Studio, Gonzales Coques
(1614/18 - 1684). Schwerin: State Museum. Ref. Bernt
(1969, 1: 258); Leppert (1977: 36). Portrait of the
artist holding a violin, with a musician playing a
cittern; a lute, harpsichord, viol and recorder lie
unused on the floor with fruit and a dog.
-
The Painter in his Studio, oil, Gonzales Coques
(1614/18 -1684). Schwerin: State Museum. Ref. van Dijck
& Koopman (1987: no. 140 – b&w); Paolo
Biordi (pers. comm., 2000). Before a window, the painter
sits playing a cittern before a landscape on an easel. At
his feet lies a chest against which leans a cylidrical
recorder, and a dog noses at a basket of fruit. In the
foreground to the right stands a bass viol; behind it
another man sits at a harpsichord, a woman standing
beside him.
Johann Baptist Corlando [or Churland] (late 17th century),
German
-
Woman with a Flute, Johann Baptist Corlando (late
17th century). Munich: Bayerische
Staatsgemäldesammlungen (Residenz Museum), Inv. 3710
(old), 1056 (new). Ref. Munich RIdIM (1999: Mstag 143).
Against a mountainous background an elegant lady holds
(but does not play, nor does she look as if she could!) a
slender tenor recorder with a gentle bell and bore end
flare. Notes by Anthony Rowland-Jones (pers. comm.,
1999).
-
Woman with a Flute, Johann Baptist Corlando (late
17th centur). Munich: Bayerische
Staatsgemäldesammlungen (Residenz Museum), Inv. 3704
(old), 3744 (new). Ref. Munich RIdIM (1999: Mstag 142).
Against a mountainous background an elegant lady is
certainly unable to play the recorder in her hand, as a
small dog is pawing her arm. Notes by Anthony
Rowland-Jones (pers. comm., 1999).
Michel II Corneille the Younger (1641-1708), French
The most successful member of a French family of
artists; a prolific painter and engraver who concentrated on
religious pictures for both private and ecclesiastical
patrons; born Paris (1642), died Paris (1708); son of Michel
Corneille I, brother of Jean-Baptiste Corneille.
-
Pastorale, ink drawing, 25.0 × 21.2 cm,
Michel II Corneille the Younger (1642-1708). Paris:
Louvre, Print Collection, Inv. 25592. Ref. Paris RIdIM
(1999). A shepherd in a dress and with a puffed up hat,
stands on a rise overlooking a town playing his
flared-bell pipe which could be a recorder.
-
Pastorale, ink drawing, 26.9 × 34.5 cm,
Michel II Corneille the Younger (1642-1708). Paris:
Louvre, Print Collection, Inv. 25615RF. Ref. Paris RIdIM
(1999). Amidst hilly countryside, a swineherd in a
wide-brimmed hat sits beneath a tree watching his pigs
and playing a long conical pipe which could be a
recorder.
Cornelis Cornelisz. van Haarlem
Dutch painter and draughtsman who became city painter of
Haarlem and received numerous commissions from the town
corporation; besides conventional religious and mythological
subjects, he produced a few portraits as well as kitchen
scenes and still-lifes; born Haarlem (1562), died Haarlem
(1638).
-
Landscape, oil on canvas,
Cornelis Cornelisz. van Haarlem (1562-1638). Ref. Gabrius
Data Bank (2002 - col.) An extensive landscape with a
peasant woman reading a papers as a traveller stands by
and a shepherd boy plays on a slender flared pipe,
possibly a duct-flute.
-
A Company Making Music and Carousing in
an Interior, oil on canvas, Cornelis Cornelisz.
van Haarlem (1562-1638). Ref. Gabrius Data Bank
(2002-col.) Around a table seven men eat, drink and play
music. One, a singer, holds an open music book; one has a
bagpipe under his arm; one holds an alto-sized
cylindrical pipe with his thumb outstretched as it might
be on a recorder, but no details of the instrument are
visible.
(Jean-Baptiste-)Camille Corot
French realist painter, draughtsman and printmaker; his
works are mainly landscapes and arcadian scenes, though later
in his career he also turned to figure painting and
portraits; his output was prolific and he has been said to be
the most forged of painters; born Paris (1796), died Paris
(1875).
-
Young Woman Playing a Tambourine and
Young Shepherd Playing a Flute, oil on panel,
Camille Corot (1796-1875). Ref. Gabrius Data Bank (2002 -
col.) A pendant pair. A young woman in a flowing dress
plays stands atop a pedastal playing a tambourine. She
faces a naked man standing on a pedastal and leaning
against a tree-trunk plays a flared-bell pipe, possibly a
recorder. Both seem far too crudly painted for Corot.
Correggio (Antonio Allegri)
Italian Renaissance painter of the school of Parma whose
innovations in depicting space, movement, and supernatural
lighting effects anticipated the Baroque style; his paintings
are characterised by vehemence, sensuality and technical
boldness; active in Correggio and Parma; born Correggio
(1489/94), died Correggio (1534).
-
Study for Allegory of the Vices, red chalk
drawing, 274 × 194 mm, Antonio Allegri Correggio
(ca 1489-1534). London: British Museum. Ref.
Royalton-Kisch et al. (1996: 81, pl. 34). Joy (one of the
Vices) plays a cylindrical duct-flute (probably a
recorder).
-
Allegory of the Vices (ca
1629-1630), tempera on canvas, 148 × 88 cm, Antonio
Allegri Correggio (ca 1489-1534). Paris: Louvre, Inv 5927
000PE024816. Ref. Gowing (1987: 153, col.); Joconde
Website (1999). Joy (one of the Vices) plays a
cylindrical duct-flute (probably a recorder).
-
Assumption of the Virgin
(1526-30), fresco, cupola ceiling, Antonio Allegri
Correggio (ca 1489-1534).
Detail. Refs. Carol Gerten-Jacson's Virtual Art
Machine. Parma: Cathedral. Ref. Smyth (1997: front cover
- col.) Angelic musicians play cylindrical pipes, fiddle
and tambourine. Only one of the pipers uses a finger
position suggestive of a recorder. Recorder-like
instruments are used as design devices in frescoes on
ceiling and nave aisles, some curved to fit their
position in the designs. Notes by Anthony Rowland-Jones
(pers. comm.)
-
Leda and the Swan (c 1531-1532), oil on canvas,
152 x 191 cm, Antonio Allegri Correggio (ca 1489-1534).
Berlin: Staatliche Museen zu Berlin, Gemaldegalerie. Ref.
Anthony Rowland-Jones (pers. comm., 2001). Leda is
playing in the stream with her maidens, and receives the
embrace of Zeus (in the form of a swan). Its decidedly
voluptuous treatment so incensed the pious zeal of Louis,
son of the Regent at Paris, that he attacked it with a
knife and cut off Leda's head. The present head therefore
is not Correggio's but a restoration by Schlesingen.
Three angel-musicians play rather softly drawn
instruments (details unclear) which include lyre, cornett
and a short ? duct-flute which is roughly cylindrical and
quite fat, like the cherub playing it, right hand
lowermost. Notes (in part) by Anthony Rowland-Jones (loc.
cit.)
Cornelisz. van Amsterdam – see
Jacob Cornelisz. van Oostsanen
Cornelius [Cornelio] Cort [ Kort or van
Hoorn] – see Frans Floris de Vriendt
North Netherlandish engraver and
draughtsman, active in Flanders and Italy; developed a bold
and strongly modelled sculptural style of engraving,
particularly successful in reproducing the Italianate
figure compositions of Frans Floris (after whom he engraved
more than 50 prints) and compositions by Maarten van
Heemskerck, Andrea del Sarto, Rogier van der Weyden and
others; born Hoorn, near Alkmaar (1533), died Rome (before
1578).
Pietro (Berretini) da Cortona
Italian draughtsman, architect, painter, and decorator,
an outstanding exponent of the Roman Baroque style who
painted frescos and easel-pictures on religious, mythological
and allegorical themes; his fresco decorations set a standard
for European Baroque painting until they were eclipsed by
Giambattista Tiepolo’s works and those of other
Venetian masters of the 18th century; as an architect Cortona
was less influential; born Cortona (1596), died Rome (1669).
-
The Seasons (1637-1640), Pietro da Cortona
(1596-1669). Florence: Pitti Palace, Sala della Stufa.
Ref. Lloyd (1979: 164, pl. 5 – col.) In a scene
from The Seasons, a group of maidens are
harvesting. One holds a pipe with a flared-bell, possibly
a recorder, but the upper part of the instrument is not
visible.
-
Faustulus
returns Romulus and Remus to Lorentia (1643), oil
on canvas, 251 × 265 cm, Pietro da Cortone
(1596-1669). Paris: Louvre, Inv. 111. Ref. Lallement
& Devaux (1996: 241). Faustulus returns one of the
children to their mother, Lorentia. The image includes
the river Tiber and a wind instrument, possibly a
recorder belonging to one of the herdsmen, lying at the
foot of one of the children suckling at the she-wolf in
the background.
Francesco del Cossa
Italian painter of religious and allegorical subjects
who, with Cosimo Tura, co-founded a new school of painting at
Padua and exercised a profound influence on the course of
Bolognese painting; born in Ferrara (ca 1435) and died
Bologna (ca 1477).
-
April: the Triumph of Venus (1470), fresco,
Francesco del Cossa (1435-1477).
Detail. Ferrara: Sala dei Mesi, Palazzo Schifanoia.
Ref. Mirimonde (1977: 163, pl. 97 – b&w);
Winternitz (1979: 49-50, pl. 6a – b&w); Moeck
(1984: April - detail, col.); Moeck, Celle: Tibia
– Musikbilder auf Postkarten, Series 2, Nr 4, Ed.
Moeck Nr 11101 (col.); Rasmussen & Huene 1982: 31,
b&w); Recorder Magazine 8(11): cover (1986);
Rowland-Jones (1997b: 14, detail – b&w; 1999b:
4, fig. 2 – detail, b&w; 2002d); Hijmans (2005:
222). A complex allegorical scene in which two young
women hold lutes and a third holds two alto flared-bell
recorders. The symbolism of the instruments mirrors the
scene of seduction enacted at their feet.
"Venus presides over the month of April, arriving on a
barge pulled by two swans; her husband Mars has armed
himself in readiness for the battle season, but she has
chained him up in obeisance to more important duties, for
she stands for courtship, love, marriage, fecundity and
the regeneration, the latter represented by the
ubiquitous rabbits. The left bank charmingly shows the
processes of courtship – meeting, talking together,
and the first kiss.
"A far more advanced stage of making love is seen at the
centre of the circle of onlookers, or some just
conversing as at a wedding reception. At least one lady
is pregnant, with a lute, and there are rabbits galore.
But the couple are about to be married, for the
woman at the bottom right of the picture is making a
coronet of myrtle for the bride. The man already wears
one, betokening conjugal fidelity, and a myrtle bush
thrives behind them both. Myrtle is sacred to Venus, and
symbolises marriage for it is sweetly scented and 'like
love it is ever blooming'. As part of the circle a man
embraces two women, and alone of all the figures in this
fresco he looks directly out at us, questioningly. One
woman holds a lute – perhaps she regards marriage
primarily in terms of raising a family. The other girl
clutches two recorders, of the most up-to-date design,
the right-hand one being slightly larger, and they are in
close proximity to the leaves of the myrtle bush. Perhaps
she gives her priority to harmony in marriage and love
for her husband. The woman with the lute holds her left
hand in a gesture meaning … what? Is it perhaps a
warning?" (Anthony Rowland-Jones, pers. com, 2000).
-
The Muse Euterpe wood, 105
× 38.7 cm, Francesco del Cossa (1435-1477).
Budapest: Szépmúvészeti Muzeum, Inv.
1143. Ref. Sauerlandt (1920: 53 - b&w; as Angel
with a Flute); Bridgeman Library of Art (2002: Image
ID BAL 53504 - col.) Euterpe stands on a plinth in front
of a hill playing a narrow, slightly tapering recorder
with puffed cheeks. A companion piece by Cossa in the
same museum depicts The Muse Melpomene (Inv.
1144).
-
April:
The Triumph of Apollo, Francesco del Cossa
(1435-1477) and Cosimo Tura (1430-1495).
Detail. Ferrara: Palazzo Schifanoia. Ref. Paris RIdIM
(1999). Steered by a young woman, horses drag a highly
decorated cart carrying Apollo (god of light, music,
hunting, healing, poetry and prophecy) triumphant,
holding his bow. Across the stream behind him is a crowd
of naked children. In the background a group of women
sing to an accompaniment of a lute. Beneath, in the
underworld, Apollo variously plays his pipe to one of the
poor souls who dwell there, heals a patient, and strives
forth as a hunter with his bow and arrows, turning his
back on darkness where two putti try desperately to
prevent the rays of the sun from shining. The pipe is a
long cylindrical recorder with a flared bell; the
window/labium is shown and the lowermost finger-hole is
offset.
Antonio Cossetti
Italian intarsiatore; born Vicenza (ca 1674), died
Ancona (1754).
- Intarsia with musical instruments (1744),
Antonio Cossetti (ca 1674-1754). Bologna: S. Domenico,
choir. Ref. Gasparo da Salò (?date: pl. 4); Paolo
Biordi (pers. comm., 2000). A vielle is crosssed with a bow
and a flared duct-flute (probably a recorder) upside down,
the beak and window/labium clearly depicted, and the bell
opening wide with a bead and thin walls.
Jan Cossiers [Coetsiers or Cotsiers] or possibly Simon
Cossiers (early 17th century)
Flemish painter and draughtsman; born Antwerp (1600)
died Antwerp (1671).
-
Vanitas, Jan Cossiers (1600-1671) or possibly
Simon Cossiers (early 17th century). Bremen: Kunsthalle,
597-1952/11. Ref. Munich RIdIM (1999: BMkh 26). A
still-life with various objects scattered on a table
including a decorated pitcher, a smoking pipe, a pack of
playing cards, a skull, documents, a drawing, a sword, an
hour-glass, a wooden container and a flared-bell,
choke-bore soprano recorder only the lower body and foot
of which are visible including the offset hole for the
little finger of the lowermost hand. An infant held by an
old woman in the print is playing a small cylindrical
whistle of some kind.
- Man with a Recorder, painting, attributed to Jan Cossiers (1600-1671).
Location unknown; formerly Sotheby's, London.
Ref. Paris RIdIM (1999); Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0001060 (2009 - b&w).
Seated in a leather-straped chair a smiling man in a feathered hat and slashed jerkin holds an alto-sized flared-bell recorder, perfectly depicted.
Lorenzo Costa
Italian painter of the school of Ferrara-Bologna,
notable as one of the first Ferrarese artists to adopt a
soft, atmospheric style of painting which he applied to
subjects of Court history and religion; born Ferrara (ca
1460), died Mantua (1535).
-
Assumption of the Virgin (late 1480s), Lorenzo
Costa (ca 1460-1535). Bologna: Abbey of S. Maria Assunta,
Monteveglio. The Virgin's feet are lifted up by two
angels, while angel putto, in four groups, play music to
her left and right, and a pair of angels hold a crown
above her head. Instruments played by the musical
angel-putti (three in each group): Bottom left, long
trumpet lute, cymbals; Upper left, one not playing, one
playing a small ? harp, the other a narrow cylindrical
duct-flute (left hand lowermost); Lower right, long
trumpet, viola da braccio and ? portataive organ; Upper
right, one not playing, one a dulcimer, one a narrow
cylindrical duct-flute (left hand lowermost). The
duct-flutes are probably recorders, but no holes or
window/labium are visible on the soprano, and only
possibly on the alto. Notes by Anthony Rowland-Jones
(pers. comm., 2000)
-
Virgin and Child Enthroned with the Family of Giovanni
II Bentivoglio, Lorenzo Costa (ca 1460-1535).
Bologna: S. Giacomo Maggiore. Ref. Bologna e
Romagna (1964: fig. 41); Rasmussen (1999b). "Putti
perched on the top of the throne play lute and recorder
(? cylindrical woodwind)" (Rasmussen, loc. cit.). Not
seen. The Reign of the Muses or Isabella d'Este
in the Garden of the Muses (ca 1510), Lorenzo Costa
(ca 1460-1535). Paris: Louvre. Ref. Berenson (1952: vol.
1. pl. 127). A complex scene beside a river with many
figures. Amongst them is an oldish man in the centre who
holds what looks like a bass recorder (a shadow near the
top could be the labium/window area).
-
Concert, wood, 95.3 × 75.6
cm, attributed to Lorenzo Costa (ca 1460-1535). London:
National Gallery. Ref. Haward (1945: 10, pl. 4 –
col.); Hindley (1971: pl. 15 – col.); Web Gallery
of Art (2001); Hijmans (2005: 222). Formerly attributed
to Ercole Roberti (1430-1496). Depicts three singers
– a woman and two men. One of the latter
accompanies on the lute. On a table in front of them lie
a small, cylindrical duct-flute with a kit (small fiddle)
and a music book.
-
Adoration of the Shepherds with Angels (ca 1499),
attributed to Lorenzo Costa (ca 1460-1535) London:
National Gallery 3105. Ref. Anthony Rowland-Jones (pers.
comm. 1999); Englera (2005 - col.) "It teems with groups
of musical angels, several of whom seem to by playing
duct-flutes which could be recorders." Mary and one of
the shepherds kneel before the Christ-child flanked by
two standing shepherds. Above them, two angels blow long
straight trumpets. The central group is surrounded by a
frame of angel musicians who sing and play in groups of
three. Amongst the many instruments are fiddles, lutes,
psalteries, timbrels, rebecs, and any number of pipes.
Some of the latter are shawms or trumpets, but others may
represent duct-flutes (flageolets or recorders). A
heavenly host surveys the scene from on high.
-
Virgin and Child with Saints, Lorenzo Costa (ca
1460-1535). London: National Gallery, NG 1119. A shepherd
gives a cylindrical duct-flute (flageolet or recorder) to
the Virgin, probably as a gift for the Christ-child at
whom he gazes.
Luis Pereira da Costa
Portuguese woodcarver and decorator; 18th century.
- Decorative panel (1727), carved wood, Luis
Pereira da Costa (18th century). Oporto: Cathedral, frontal
panel in balcony across console ara of the organ. Ref.
Azevedo (1972: 41 & pl. 8- b&w); Anthony
Rowland-Jones (pers. comm., 2004). The organ case was
completed in 1727. The panel is a long rectangle with an
open book and three circular garlands in the centre,
surrounded on both sides with musical instruments, all in
bas-relief (wood, or plaster on wood), all in white. The
instruments include horn, two trumpets, panpipes, ? flute
(only the head end visible), and the head ends, side by
side, of two late baroque-style alto recorders, but the
rest of the recorders are occluded by the trophy-style
arrangement. There is also a small duct-flute with four
finger-holes, probably a French flageolet; and there are a
number of unidentifiable wind instruments. Notes by
Rowland-Jones (loc. cit.)
Adam de Coster
Flemish Caravagesque artist; born Mecheln (1586), died
Antwerp (1643).
-
Boy Playing a Recorder, oil on linen, 114 ×
79 cm, Adam Coster (1586-1643). Würzburg: University
Museum, Inv. F369 (K'331). Ref. Wagner (1986: 48, no. 78
– b&w); Paolo Biordi (pers. comm., 2001). A boy
in a slashed jacket and a plumed hat plays a one-piece
flared recorder right hand uppermost by candlelight
reading from a mansucript that lies with a violin on the
table before him.
D. Coster (early 18th century), ? French
- Frontispiece to Nouveau Recueil de Chansons Choisies (Tome Premier, Quatrieme Edition),
published by Jean Neaulme (1735): Trophy of Musical Instruments, engraving, D. Coster (18th century).
Venice: Levi Foundation Library.
Ref. LP record cover: Hotteterre 'le Romain', Deuxième Livre de Pièces pour la Flute Travèrsière, Oeuvre Ve, Iakov 10 812 (1979); Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000).
A garland of musical instruments including violin, syrinx
(fipple kind), lute, trumpets, cornett, horn, flute and two
three-piece baroque recorders, one complete and very
clearly depicted, the other partly hidden under a sheet of
music, only the foot and lower part of the centre-joint
visible. There is also a flare (alight!), a faggot (bundle
of sticks), an elaborate bow and arrow, and a goblet. Given that it includes a depiction of a late baroque recorder, this is unlikely to be the work of Netherlandish artist, printer and copperplate engraver Domenico Custos [Coster] (1560-1612).
Hendrick Coster
Dutch artist working in Arnehm; active 1652; died 1659.
-
Music Children in Candlelight (1659), 73 ×
67 cm, Hendrick Coster (op. 1652-1659). Stockholm:
Nationalmuseum. Ref. Bernt (1969, 1: 264); Munich RIdIM
(1999); Rijksbureau voor Kunsthistorische Documentatie,
The Hague ex Ruth van Baak Griffioen (pers. comm., 2003).
A boy sings with music; a little girl behind him plays a
duct-flute (possibly a recorder, but lower half
occluded).
Jean Anotine Cuenot [John Cuenot]
English wood-carver and frame-maker, probably of French birth and a member of a family of sculptors, architects and engineers (fl. 1744-1756), died London (1762).
- Trophy of Musical Instruments (1753–1756), carved wood, Jean Antoine Cuenot (fl. 1744-1756, m. 1762)
London: Victoria & Albert Museum, Gallery 58.
Ref. Fitz-Gerald (1973: frontispiece, col. & pl. 39 - b&w).
Originally designed for Norfolk House, 31 St James Square, London, which was demolished in 1938. The Music Room was fortunately saved and re-erected in the Victoria & Albert Museum. The initial desing may have been by Giovanni Battista Borra (1713-1720), the Piedmontese architect who spent a decade or so in England. All the carved woodwork in the Music Room appears to have been executed by Couenot. This trophy decorates a panel above a fireplace. It comprised a guitar, oboe, trumpet, pan-pipe, harp, flutes and the head of a baroque recorder, its characteristic beak seen in side-profile.
Jean Cousin II
French artist whose works are inextricably confused with
those of his father; born ? Sens (ca 1522), died ? Paris (ca
1594); son of Jean Cousin I (ca 1500-ca 1560).
-
Landscape with Mythological Figure / Allegory of
Spring, pen & brown ink, and violet wash, over a
black chalk sketch, Jean Cousin II (ca 1522-ca 1594). St
Petersberg: Hermitage. Ref. Exhibition, French
Drawings and Paintings from the Hermitage: Poussin to
Picasso, Hermitage Rooms, Somserset House London
(2001-2002); Anthony Rowland-Jones (pers. comm., 2001).
"At the centre a seated middle-aged man, like Virgil's
Tityrus leaning against a tree (but here it is an oak),
plays a cylindrical alto recorder, left hand lowermost,
all fingers on. Nevertheless, an offset little finger
hole is visible just before the instrument's very slight
bell flare. A smudgy mark in the expected area could
represent a window/labium. In the allegory the recorder
is given prominance as other characters in a very crowded
composition are looking at the player" (Rowland-Jones,
loc. cit.)
Robert Couturier
French sculptor; born Angoulême, Charente (1905).
-
The Flute-player (ca 1960), sculpture, bronze with
a brown patina, 55 × 11 × 11 cm, Robert
Couturier (1905-). Location unknown: sold Paris
Auctions-commissaires, 29 October 1990, by Drouot
Richelieu. Ref. Gazzette H.D. 38 (1990: 88, lot. 97);
Paris RIdIM (2000). A stylized figure of a man playing a
cylindrical pipe, possibly a recorder.
David Cowles
US artist living in Rochester; known for his
Picasso-like caricatures and pop-music record covers.
- Cover: American Recorder 38(5):
Untitled (1997), David Cowles (contemporary). A stylised
recorder, plate and wine bottle.
Antoine Coypel (1661-1722), French
French painter and interior decorator, strongly
influenced by the theatre, an important influence in
encouraging the Baroque style in French art; born Paris
(1661), died Paris (1722).
-
Allegory of Music: Euterpe, engraving by
Gérard Edelinck (1640-1707) after Antoine Coypel
(1661-1722). Stockholm: Nationalmuseum, NMG Orn
6657:1-16; Cliché Giraudon L. 19063. Ref.
Mirimonde (1975: fig. 21); Pottier (1992: 39, pl. XXV);
Archiv Moeck; Paris RIdIM (1999); Sidén (2001: 27,
fig. 6 - b&w). The original was a ceiling decoration
in the Art Gallery of Charles Perrault (ca 1681/4),
destroyed in 1685. A personification of Music plays the
lyre, surrounded by children, one of whom plays the lute,
another a turned baroque recorder with ivory beak, joints
and foot.
Dirck (Petersz.) Crabeth
Netherlandish stained glass and tapestry designer;
active Gouda (1520), died Gouda (1574).
-
St Paul (1543), stained glass window, studio of
Dirck Crabeth (op. 1520-1574). Paris: Musée d'Arts
Decoratifs. Ref. Anthony Rowland-Jones (pers. comm.,
2004). One of two large windows with multiple rectangular
panels, done in grisaille and silver stain (i.e. yellow)
for a house in Leiden, illustrating the stories of Samuel
and of Paul. The scenes are set within decorations of
animals and young male putti, some with musical
instruments. In the panel representing St Paul preaching
in the synagogue on the nature of God, a near-naked young
putto (without wings) holds two duct-flutes (probably
recorders) in his left hand and, in his right hand, holds
another to his mouth. The latter pipe is of tenor size.
It has an offset little finger-hole and slight bell flare
with a tuning hole in the bell end. The other pipes are
held centrally, crossed, and are rather obscured by the
young man's hand and arm, but are both of alto size
without bell flare. One has curved over beak, seen from
an angle underneath (no thumb-hole is visible, however).
The other shows the lower body with three, perhaps four
finger-holes in line; then, beyond the hand just enough
of the head end to show the same beaked mouthpiece and a
very evident window/labium. These pipes are very probably
intended to be recorders. Notes by Rowland-Jones (loc.
cit.)
Wouter Pietersz. Crabeth II (ca 1595-1644), Dutch
Dutch painter from a family of artists; worked in the
Caravaggesque style; born Gouda (ca 1594), died Gouda (1644);
grandson of Wouter Crabeth I. (op. 1599- 1589)
-
Concert, 132 × 170 cm, Wouter Pietersz
Crabeth II (ca 1594-1644). Paris: Guy Darrieutort. Ref.
Nicolson (1979, 2: fig. 138); Griffioen (1988: 438-439).
A man viewed in side profile plays a cylindical recorder,
another plays a lute, and a young woman plays a guitar.
-
Pastoral
Scene, 87 × 70 cm, Wouter Pietersz Crabeth
II (ca 1594-1644). Antwerp: Koninklijk Museum voor Schone
Kunsten, Cat. 5. Ref. Kettering (1983: fig. 105);
Griffioen (1988: 438-439 - b&w); Institute Royal du
Patrimonie Artistique / Koninklijk Instituut voor hef
Kunstpatrimonium (IRPA/KIK), Brussels (2007); Universitatario Olandese di Storia dell'Arte Firenze, Special Photo Study Collections, Image 0001084 (2009 - b&w). A young
shepherd plays a soprano-sized recorder to a shepherdess
in a floral hat and with a lamb in her lap. The
window/labium is visible, the thumb and fingers perfectly
positioned for recorder playing, the little finger of the
lowermost (right) hand posed above its hole.
- [Portrait of a Musician], 86 ×
67 cm, Wouter Pietersz Crabeth II (ca 1594-1644). Location
unknown: auctioned Keulen, Haarlem, 12-4 June 1980, No.
171. Ref. Slatkes in Simiolus 12 (1981-1982: 172,
attributed to Reyer Janzoon. van Blommendael (op. 1662 - m.
1675); Hoyer (1992: 108, no. 26); Rijksbureau voor
Kunsthistorische Documentatie, The Hague ex Ruth van Baak
Griffioen (pers. comm., 2003). A well dressed man in a
plumed hat sits at a bench with an open music book before
him holding an alto-sized recorder seen in side profile,
the beak of which is metal-sheathed.
Joos van Craesbeeck [Craesbeke, Craesbeek]
Flemish painter; born Neerlinter (? 1605/6), died
Brussels (1654/61).
-
Gathering of Rhetoricians, Joos van Craesbeeck (?
1605/6 – 1654/61). Brussels: Royal Museum of Fine
Arts, cat. 121, inv. 3462. Ref. Leppert (1977: 41, pl.
XXXIV – b&w). Rhetoricians are assembled in a
garden, possibly for a contest. Amongst the instruments
are lutes, rebec, viol, virginals, and a recorder
(Leppert, loc. cit).
-
The Clarinet [sic.] Player, Joos van
Craesbeeck (? 1605/6 – 1654/61). Private collection.
Ref. Rijksbureau voor Kunsthistorische Documentatie
(2001); Anthony Rowland-Jones (pers. comm., 2001).
Depicts a group of quite well dressed peasants in a small
garden outside a cottage. A young woman sitting at a
table plays a wave profile alto recorder (not a
clarinet), right hand lowermost. All her fingers are on
the instrument with the exception of the little fingers,
but the characteristic offset lowermost finger-holes are
clearly visible as are the small but clear window/labium
and beak. A man sitting with her at the table leans on
his elbow, listening intently.
-
The Lute Concert (ca 1650), oil on panel, 30 × 23 cm, Joos van Craesbeeck (?
1605/6 – 1654/61).
Vienna: Liechtenstein Museum, Inv.-No. GE476.
Ref. Kräftner (2004: 127 - col.); Charles Rowland-Jones (pers. comm., 2007).
Two seated women, one of them with her back turned, entertains a cavalier by playing the lute. An elderly couple appear to be singing along as best they can and encouraging the lutenist, but even so the graceless gallant being serenaded is already asleep at the table. On a plain wall behind is a small framed picture of an old, bearded man and, hanging on the wall to the right, is a soprano-sized duct-flute with a window/labium and perhaps six (or possibly seven) finger-holes, the lowermost doubled. It is very slightly outwardly conical and has a decorative ring at the very slightly flared bell-end. The instrument could have a crude symbolic purpose! The slumped cavalier hasn't even touched his glass full of wine. He certainly doesn't respond to the woman's lute-music.
Lucas Cranach, the Elder (original name possibly Lucas
Müller or Sunder)
German artist of considerable influence in the 16th
century whose vast output includes altarpieces, court
portraits and portraits, innumerable pictures of
women--elongated female nudes and fashionably dressed ladies
with titles from the Bible or mythology; active in southern
Germany and Austria; born Cranach, now Kronach (1472), died
Weimar (1553).
-
Rest on the Flight to Egypt (1504), oil on wood,
69 × 51 cm, Lucas Cranach (1472-1553). Berlin:
Picture Gallery. Ref. Schwarz (1967: pl. 3 – col.);
Staatliche Museen Preußischer Kulturbesitz (1968:
35, pl. 12 – b&w); Klessmann (1971: 92-93,
pl.-col.); Ember (1984: 20, fig. 4 – b&w). The
Holy Family halt on the edge of a forest surrounded by
putti and child angels, two of whom (a boy and a girl)
hold small pipes (reed pipes or duct-flutes), briefly
flared at the bell. The girl appears to be singing. In
each case the mouthpiece of the pipe is unusual and may
represent the window and labium of a recorder, but could
be interpreted as the channel and reed of a
chalumeau-like instrument.
-
Rest on the Flight to Egypt (1509), woodcut, Lucas
Cranach (1472-1553). Ref. Schade (1974: pl. 20, 21 &
42); Rowland-Jones (1999: 127, fig 1). The Holy Family
halt beneath an oak tree, though their stay can hardly be
restful due to the fact that there are no less than 23
hyperactive putti in attendance, six of them
perched on a branch above them. Of the latter, three play
cylindrical duct-flutes (probably recorders) whilst their
companions sing from an open book. On another branch a
particularly energetic putto blows a straight
trumpet whilst jumping up and down and flapping his
wings! Notes from Anthony Rowland-Jones (pers. comm.)
-
The Mocking of Christ, painting, School of Lucas
Cranach (1472-1553). Prague: Castle Museum. Ref.
Rowland-Jones (1999: 128-129, fig. 4 – b&w);
Exhibited Maastricht: Bonnefanten Museum (2001); Liesbeth
van der Sluijs (pers. comm., 2001). A Roman soldier mocks
Christ by putting a duct-flute (flageolet or recorder) in
his lips. It is interesting to compare this and the
shepherd's gift to the infant Christ in Costa's Virgin
and Child with Saints (see above). Other tormentors
blow a cow horn in one ear and bang a metal dish in the
other, beat him with sticks, squirt him with an enormous
syringe, pull faces at him.
Robert Crawford (contemporary), USA
-
Untitled, Robert Crawford
(contemporary). Ref. American Recorder 42(1),
front cover-col. (2001). A woman plays a
recorder in front of a window through which birds can be
seen.
Louis Crépy (1680-1750) –
see Jean-Antoine Watteau (1684-1721)
Benedetto Crespi [known as Bustino], Italian (17th century)
-
Annunciation, oil on canvas, 265 × 155 cm,
Benedetto Crespi, Italian (17th century). Italy:
Collegiata Novara Borgomanero. Ref. Villa I Tatti
ND619L6P582; Gregori (1996: 148, 280, n. 76 –
b&w); Paolo Biordi (pers. comm., 2000). The angel
Gabriel (as a woman!) addresses Mary; between them sits a
small cat. Above the scene a band of angels play lutes,
fiddle, harp, organetto, transverse flute, and an
ambiguous pipe which may be a straight cornett or a small
duct-flute (flageolet or recorder) of slender form with a
slightly flared bell.
Daniele Crespi
Italian painter and draughtsman; the most original
artist working in Milan in the 1620s, the first to break with
the wilfully exaggerated manner of Lombard Mannerism and to
develop an early Baroque style, distinguished by clarity of
form and content; his style, both as a painter and as a
draughtsman, is a fusion of Lombard and Emilian sources; born
?Milan (1597–1600), died Milan (1630).
-
Grotesque Heads, oil on canvas,
39.8 × 56 cm, Daniele Crespi (1597/1600-1630).
Paris: Galerie Canesso (March 2001); Constance
Scholten (pers. comm., 2001); Apollo (2001, 93:
61, no. 469 - col.); Recorder Magazine 24(2):
front cover (2004 - col.) Depicts three grotesque
peasants, one of whom plays a small, flared-bell
recorder. This painting is currently for sale.
Giuseppe Maria Crespi [lo Spagnuolo]
Italian painter, draughtsman and printmaker whose
religious and mythological works are distinguished by a free
brushstroke and a painterly manner; also painted spirited
genre scenes, which by their quality, content and quantity
distinguish him as one of the first Italian painters of high
standing to devote serious attention to the depiction of
contemporary life; born Bologna (1665), died Bologna (1747).
-
Musicians (1710-1715), oil on
canvas, 100.8 × 50.1 cm, Giuseppe Maria Crespi
(1665-1747). London: National Gallery, L882 (on loan from
Sir Denis Mahon); National Gallery (2004 - col.) One of
three peasants, possibly shepherds, plays a lyre, his
back to us; another plays a triangle (with rings); a
third plays a flared bell recorder of tenor size the
windway/labium of which is clearly depicted, but the
little finger of the lowermost (right) hand is kinked
away from the instrument. Behind them are soldiers and
riders.
-
Boy with a Recorder, oil on
canvas, 61.9 × 49.4 cm, follower of Giuseppe Maria
Crespi (1665-1747). Buscott Park (Berkshire): The
Faringdon Collection, Cat. No. 61. Ref. Merriman (1980:
No. 212); Spike (1986: 32, fig. 21); The Faringdon
Collection (2001). A youth sitting at a table leans on
his elbow, his right hand holding a recorder (only the
head of which is visible). His other hand turns a page of
music before him. Engraved By Pietro Monaco for
Algarotti, as Daviddo fuggitivo (see below). The
pendant to this picture, of a Man Wearing a Helmet
(thus making a pair, of the Active and Contemplative
Life), is in the William Rockhill Nelson Gallery of Art,
Kansas City (Merriman, loc. cit, No. 211).
-
Davidde Fuggitivo engraving, 44.7 × 32.4 cm,
by Pietro Monaco (1707-1772), after Giuseppe Maria Crespi
(1665-1747). Venice: Private Collection. Ref. Wül
(1996: 6, fig. 5). Said to be after an original oil
painting by Crespi, assumed lost. However, the
composition is identical to a painting auctioned by
Sotheby's in 1977 attributed to Giovanni Battista
Piazzetta (1682-1754) and to what may be a copy auctioned
by Sotheby’s, in 1964, bought by Lord Faringdon for
the Faringdon Trustees (see above). A youth (David) with
curly hair leans on his right elbow in the hand of which
he grasps a flared-bell recorder, the curved windway,
window/labium and bottom five finger-holes (the last
offset) are clearly depicted. In his left hand he holds a
crumpled manuscript. A caption reads:
Et declinavit David a facie eius (nempe
Saul persequentis)
Ortensio Crespi
Italian painter; born Milan (1578), died before 1631.
-
St Cecilia (ca 1630), oil on canvas, 56 × 36 cm,
Ortensio Crespi (1578-1631). Breschia: Pinacoteca Tosio
Martinengo, Inv. No. 292. Ref. Pinacoteca Civica "Tosio,
Martinengo" (1927: 89); Dell'Acqua (1966, 1: 691); Paolo
Biordi (pers. comm., 2001). St Cecilia stands beside a
chamber organ. At her feet lie a lute, a viol, three
sackbuts, a cornett and a soprano recorder. The latter
has a long beaked mouthpiece, a clearly depicted
window/labium, and seven finger-holes (the lowest
possibly offset), and is shortly flared at the bell.
Notes by Anthony Rowland-Jones (pers. comm.)
Domenico Cresti ['il Cresti', 'il Passignano', 'il
Passignani' or 'Passa Ognuno']
Italian painter and frescoist whose works include
religious subjects and portraits, including one of his
friend, Galileo; although a Florentine by birth, he belongs
to the Venetian school; his nick-name 'Passo Ognuno' is a
reference to the rapidity of his painting as well as a play
on the name of his birthplace; born Passignano (ca 1560),
died Florence (ca 1636).
- [Women and Putti], painted tondo,
Domenico Cresti (ca 1560 - ca 1636). Florence: Palazzo
Pitti, Sala della Prudenza (Royal Appartments). Ref.
Anthony Rowland-Jones (pers. comm., 2002). The putti play
viola and triangle. One woman holds two flutes or
recorders, extending outwards (one crossing the frame).
Each has what could be a window/labium or possibly a not
quite circular flute embouchure hole. The instruments are
cylindrical, alto-sized, with three finger-holes showing
before the woman's hand obscures the others. They have
little or no beak, although a beak would hardly show from
this face-on angle. A seated girl, and a girl with a
violin, nearby, wear coronets of small flowers which could
be myrtle, suggesting the harmony/marriage symbolism often
associated with two recorders.
Donato Creti
Italian painter and draughtsman whose individual and
poetic art represents the last significant expression of the
classical/idealist strain in Bolognese painting; painted
decorative frescoes, altarpieces and easel pictures for
private collectors; his work is characterised by a perfected
finesse of handling and poetic suggestiveness of situation
and mood; he was a prolific draughtsman with a distinct
personal manner, who drew for pleasure as well as to prepare
his compositions, usually using a quill-pen and producing
shadowing by hatching; born Cremona (1671), died Bologna
(1749).
-
Glorification of St Bernard of Sienna (1710),
canvas, 78 × 95 cm (oval), Donato Creti
(1671-1749). Paris: Louvre. Ref. Lallement & Devaux
(1996: 241). Depicts St Bernard of Sienna in paradise,
Chirst, Mary, St Francis of Assisi, and musical angels,
including a pipe (recorder or oboe). Not seen.
-
Jacob's Ladder, oil on canvas, 308 × 197 cm,
Donato Creti (1671-1749). Rome: Villa Corsini, Picture
Gallery, Inv. 79. Ref. Anthony Rowland-Jones (pers.
comm., 2002). At bottom right Jacob sleeps and dreams. At
mid-left an angel, who looks down towards another angel
playing a perfectly drawn lute, holds a little bit away
from his mouth, an unmistakeably shaped baroque alto
recorder (even though no window/labium or finger-holes
are visible). The player's right hand is held uppermost
with the third and fourth fingers lifted; the fingers of
the left hand are similarly disposed. There are no other
instruments.
-
Lady with Recorder and Panpipes [Euterpe]
(18th-century), ? Donatino Creti (1671-1749). Private
Collection: Frans Brüggen. Ref. Early Music
7(3): front cover - col. (1979). A young woman with
flowers in her hair holds a set of panpipes and a turned,
baroque recorder only the head of which is visible.
-
The Muse Euterpe, oil on
canvas, oval, Donatino Creti (1671-1749). Ref. Gabrius
Data Bank (2000 - col.) A young woman with flowers in her
hair holds a set of panpipes and a turned, baroque
recorder only the head of which is visible. This seems
identical (though of decidedly inferior quality) to
Lady with Recorder and Panpipes in the private
collection of Frans Brüggen, thought hitherto to be
Anonymous.
-
Dance of the Nymphs (ca 1724), Donato
Creti(1671-1749). Rome: Museo Nazionale di Palazzo
Venezia. In the foreground a young man plays a lute and a
boy fingers a narrowly conical pipe (possibly a recorder)
watched by a young woman who lies on the ground with her
back towards us. In an ampitheatre in the centre of the
scene nymphs dance in a circle to the sound of a viol
played by a young man sitting at the top of some rough
hewn steps. A second lutenist lies watching the dancers.
In the background are other men and women provide an
audience silhouetted against the surrounding hills.
Renato Cristiano
Contemporary Italian artist whose travels have taken him to France, Africa, West and South Asia, Sumatra and Java, finally settling in Bali for some years where he built studios in Putung and Manggis. He is among the most important expatriate artists working in Bali in the years after World War II and the struggle for Indonesian independence; Cristiano's Balinese oeuvre has three loosely defined categories of work: the realistic works, which sought to capture the essence of Bali and its people; a group of works tracing their inspiration to Renaissance drawings and paintings; and the series of paintings with backgrounds containing gold and silver, reminiscent of Byzantine icon paintings. Born Rome (1926).
- La Suonatrice di Flauto, Renato Cristiano.
Rome: Fondazione Marino Piazzola.
Ref. Web-site: Fondazione Marino Piazzola.
A young boy kneeling plays a slender cylindrical pipe, presumably a duct-flute of some kind, though no details can be seen.
- Fauno, Renato Cristiano.
Rome: Fondazione Marino Piazzola.
Ref. Web-site: Fondazione Marino Piazzola.
A technicoloured faun seated plays a slender cylindrical pipe, presumably a duct-flute of some kind, though no details can be seen.
- Fauni suonatori, Renato Cristiano.
Rome: Fondazione Marino Piazzola.
Ref. Web-site: Fondazione Marino Piazzola.
Three fauns standing play slender cylindrical pipes, presumably duct-flutes of some kind, though no details can be seen.
Petrus II Cristus (1479- p. 1530), Flemish
-
Virgin and Child, attributed to Petrus II Cristus
(1479- p. 1530). Spain: Private collection (1958). Ref.
L'art flamande dans les collections espagnoles
(1958: 59, no. 35); Rasmussen (1999b). "In a landscape,
with a view of Granada in the background. Angels play
lute (left) and recorder (right)" (Rasmussen, loc. cit.)
Jean Crokaert (18th century), Dutch
-
Legend of St Rombout (1774), Jean Crokaert (17th
century). Mechelen: Sint Romboutskerk. Ref. Rijksbureau
voor Kunsthistorische Documentatie 34278 (2001); Anthony
Rowland-Jones (pers. comm., 2001). A boy plays an alto or
tenor pipe (probably a recorder), the details of which
are unclear apart from the beaked mouthpiece. This may be
the only known work by Crokaert.
Jean-Baptiste de Croziers (late 17th century), French
-
Les Saints innocents ressucités par l'enfant
Jesus (1654), painting on wood, Jean-Baptiste de
Croziers (late 17th century). Aix-en-Provence:
Musé des Tapisseries. Ref. Pottier (1992: 70, pl.
LVI – b&w); Pottier (1995: 141, pl. 17 -
b&w); Archiv Moeck. One of the infants holds a small,
one-piece recorder; one beside him plays a guitar, others
sing and play the fiddle. Some offer garlands; a
sacrificed lamb lies at their feet.
Giovanni Antonio Cucchi (1690-1771), Italian
-
Bacchic Scene, black chalk on yellowed white
paper, 17.9 × 28 cm, Giovanni Antonio Cucchi
(1690-1771). Milan: Biblioteca Ambrosiana, Accession No.:
Cod F 233 Inf n 459. Ref. Barigozzi Brini & Bossaglia
(1973: 333, cat. no. 24 & fig. 24); Biblioteca Ambrosiana
(1999). "Bacchus sits collapsed upon a draped rock, in
the center. His left leg rests upon a goat, which is fed
by a reclining infant. His left arm rests on a vat filled
with grapes, and his head is tilted back. On the left
sits a woman, her head turned to the right, playing
cymbals. Pan stands, in the center background, and holds
a flute or recorder. In the right background are trees
and shrubs" (Biblioteca Ambrosiana (loc. cit.)
Pierre Culliford – see Peyo
Francesco Currai (1570-1661), Italian (Florentine)
-
Adoration of the Shepherds (1590-1505), Francesco
Currai (1570-1661). Prato: Cathedral Museum. Ref. Anthony
Rowland-Jones (pers. comm., 2002). At the top of this
painting, angels sing and play viol and harp. The older
of two shepherds plays a bagpipe; the younger has a long
cylindrical or slightly conical pipe with a tiny bell
flare which could be a tenor recorder. The latter is
played left-hand lowermost and with the fingers of both
hands down, except the lower little finger which is
lifted slightly in a poised position. The mouthpiece is
beaked. The player's cheeks and lips are relaxed.
However, the instrument is in shadow and no further
details are visible.
Aelbert Jacobsz(oon) Cuyp (also spelled Cuijp)
Dutch painter known for his peaceful landscapes of the
Dutch countryside, distinguished for their poetic use of
light and atmosphere; born Dordrecht (1620), died Dordrecht
(1691); the son and probably the pupil of Jacob Gerritsz
Cuyp.
-
Countryside beside the Rhine: Cows in Pasture (ca
1650), oil on canvas, 170 × 229 cm, Aelbert Cuyp
(1620-1691). Paris: Louvre, Inv. 1190. Ref. Joconde
Website (1999); Anthony Rowland-Jones (pers. comm.,
2004). A shepherd sits on a rock playing his slender,
slightly flaredl tenor- or alto-sized recorder, watched
by two children and a number of cows. On a nearby hill
stand several more shepherds and some sheep. In the
distance, across the river, is the town of Dordrecht. All
the recorder player's fingers are down except for the
little finger of the lower (right) hand close to which
can be seen a flinger-hole offset to the right.
- [Title unknown], black chalk, Aelbert Cuyp
(1620-1691). Berlin: Kupferstichkabinett (West). Ref.
Munich RIdIM (1999: Bkk 137). A young man in a brimmed hat
sits on the ground playing a cylindrical recorder with a
very slightly flared bell. The hole for the little finger
of the lowermost (right) hand is clearly visible. Another
similarly dressed man (possibly his teacher) conducts with
a roll of paper.
-
Piping Shepherds (ca 1643-1644), oil on
canvas, 90.8 × 119.4 cm, studio of Aelbert Cuyp
(1620-1691). New York: Metropolitan Museum of Art, Inv.
25.110.15. Ref. Reiss (1975: 86, pl. 51); Griffioen
(1988: 438-439); Baldassare (?date); Constance Olds (via
Amanda Pond, pers. comm. 2002 - b&w). Watched by
their beasts and a small dog, two shepherds amuse
themselves on a knoll at the edge of a river or lake.
One, seated, plays the bagpipes; the other, standing,
plays a flared-bell recorder of alto size. The recorder
player's fingers and thumb are in their correct
positions, including the little finger of the lowermost
(right) hand beneath which the offset finger-hole is just
visible. The right-hand part of this painting is
identical to Cuyp's Piping Herdsmen, Gabrius Data
Bank (2001 - see below), although in the latter a metal
ewer replaces the dog.
-
Piping Herdsmen, oil on canvas,
Aelbert Cuyp (1620-1691). Ref. Gabrius Data Bank (2001 -
b&w.) A shepherd sits beneath a tree playing his
bagpipes; another stands beside him playing an alto-sized
pipe (probably a recorder) with a flared bell. A ewer and
a stick and bundle before them. Their cattle provide an
audience. Auctioned 4 April 1990, sold (Gabrius, loc.
cit.) This is identical to the right-hand part of Cuyp's
Piping Shepherds, Metropolitan Museum of Art, New
York (see above), although in the latter there is a dog
in place of the ewer.
-
Portrait of Children in Pastoral Dress (ca 1645),
104 × 132 cm, attributed to Aelbert Cuyp (ca
1620-1691). Mountauban: Musée des Beaux-Arts, Inv. 885.10. Ref. Kettering (1983: fig.
80); Reiss (1975: 85, pl. 50); Griffioen (1988: 438-439); Anthony Rowland-Jones (2008, pers. comm.)
A boy wearing a cap and a narrow ruff plays a cylindrical
alto recorder to his siblings who sit beneath a tree
with some lambs. In the background are shepherds with
their sheep, and the buildings of a village. The thumb of the recorder player is bent as for recorder playing and his cheeks are not inflated.
-
Piping Shepherd, near Leiden (ca 1645/50), 65
× 88 cm, studio of Aelbert Cuyp (1620-1691).
Location unknown. Ref. Reiss (1975: 94, pl. 59);
Griffioen (1988: 438-439). Watched by a shepherdess who
stands behind him, a shepherd sits on a knoll in the
shade of a tree playing an alto-sized recorder with a
slightly flared bell. His fingers are placed perfectly
for recorder-playing and the little finger of his
lowermost (right) hand is crooked as if to cover its
hole. A man on horseback rides along the road nearby,
followed by a man with a pole over his arm; peasants are
at work in the fields behind.
-
Landscape with Piping Herdsman (ca 1645-1650),
Aelbert Cuyp (1620-1691). Dordrecht: Museum (City Art
Gallery). Ref. Postcard, Dordrechts Museum (2001 - col.);
Anthony Rowland-Jones (pers. comm., 2001). A shepherd
sits on a knoll playing his alto recorder to two cows
sheltered beneath an overhanging rock. He plays
right-hand lowermost with his lowermost little finger
beside beside an offset hole. All other fingers are
covering their holes. The beak and window/labium are
clearly depicted, though the latter is rather low set.
The instrument has a gentle, fairly slight bell-flare.
Benjamin Gerritsz Cuyp
Dutch painter noted principally for paintings of
biblical and genre scenes which use Rembrandtesque light and
shadow effects; born Dordrecht (1612), died Dordrecht (1652);
half-brother of Jacob Gerritsz Cuyp.
-
Peasants in a Tavern, oil on
oak panel, 53 × 76 cm, Benjamin Gerritsz Cuyp
(1612-1652). Budapest: Szépmüvészeti
Múzeum, #3825. Ref. Mojzer (1967: pl. 20);
Griffioen (1988: 438-439); Web Gallery of Art (2003 -
col.) A group of carousing peasants are entertained by
two of their number who play violin and a pipe which Griffioen lists
as a soprano recorder. Identical to the Sibiu version, but the pipe is stouter and more crudely drawn.
- Peasants in a Tavern, oil on oak panel, 50 × 75 cm, Benjamin Gerritsz Cuyp
(1612-1652).
Sibiu/Hermannstadt (Romania): Muzeul National Brukenthal.
Ref. Website: CODART (2008 - col.)
A group of carousing peasants are entertained by two of their number who play violin and a pipe.
Identical to the Budapest version (see above), but the pipe is much more slender and cylindrical.
- Peasants in a Tavern (c. 1635, oil on
panel, 46.6 × 68 cm, Benjamin Gerritsz Cuyp (1612-1652).
Location unknown: offered for sale by Dr A. Wieg Fine Art, Amsterdam (pre-2009).
Ref. Constance Scholten (pers. com., 2009).
A peasant sits on a box playing a violin. Opposite him another seated at a table holds a slender, cylindrical duct-flute (possibly a recorder). Beside him a third peasant sings. Two more listen to the music. A couple converse in a corner of the room. A hooded figure sits in front of the fireplace with his back to the others.
Jacob Gerritsz Cuyp (also spelled Cuijp)
Dutch painter, best known for his portraits, born
Dordrecht (1594), died Dordrecht (1651); half-brother of
Benjamin Gerritsz Cuyp, and father of Aelbert Jacobsz(oon)
Cuyp.
-
Pastoral Scene, 110 × 166 cm, Jacob Gerritsz
Cuyp (1594-1651). Montauban: Ingres Museum. Ref.
Kettering (1983: fig. 118); Reiss (1975: 82, pl. 47);
Griffioen (1988: 438-439). Surrounded by their beasts and
watched by a dog, a shepherd with his back to us plays a
s soprano recorder to a shepherdess. His thumb and
fingers are in perfect recorder-playing position, right
hand lowermost, and the thumb of the uppermost hand bent
to sound the octave.
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